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0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

PRAETOR (LUXEMBOURG)

This is ripping intense old school thrash that has its restless heart and soul firmly in place almost the entire time, the power/speed metal trotter "Pitch Black" providing a respite from the moshing vigour of the rest, with "Dormant Brain" and "Screens" taking care of the restless metal breed. The singer is a shouty semi-deathster who does his thing without ruining the musical facade.

Praetor Full-length, 2023

Official Site

PRADER (USA)

Based on the full-length, this act provide decent old school thrash which by all means has its moshing headbanging side ("Thick Smoke", "Apocalypse"), but there's also this strife for more diverse execution (the melodic epicer "Final Judgement"), those loftier attempts ultimately canceled by smashing bombs like "Wehrmacht" and the carefree cover of Soziedad Alkoholika's "Nos Vimos En Berlin", the instilled pogo aptly supervised by mean vicious semi-death vocals.

Wehrmacht EP, 2014
The Ways of Violence Full-length, 2018

Official Site

PRAGWALD (SLOVENIA)

This act serve jarring spastic thrash/crossover that can be both on the less restrained violent ("In Nomine") and jumpy funky ("Temple of Sadness") one, the speed/thrash amalgam "Just a Question... Why?" changing the scenery towards more sensible soundscapes, before the "Pragwald Blues" sneaks in another unorthodox tune, this one missing the hoarse but attached hardcore-ish vocalist.

Pragwald EP, 1991

Youtube

PRAINBORK (USA)

An eclectic modern version of the good old thrash/crossover full of energy and vigour as well as several cool ideas. The guys thrash on without too much ado with an added death metal intensity at times but with an omnipresent sense of melody (check out the excellent speedy opus "Medusa's Child" which also boasts the greatest lead sections on the album) except for the moments when the guys branch out into a stripped-down hardcore territory ("Mustard Donut", "Beef Porridge"). The avantgarde feeling of the album is expressed through the use of sax, funky passages, illogical time-signatures, sudden blasts, and unexpected exercises in a more technical play (the closing "Goat Milk Butter Pops").

A Wrench Short Of A Baker's Dozen Full-Length, 2012

PRAISE THE FLAME (CHILE)

Based on the full-length, this act pull out aggressive death/thrash which isn't completely devoid of melody, and the musicians' skills are admirable clinging more towards the death metal side with stylish nods to Morbid Angel. The frequent blast-beats kind of hamper thrash's performance which is reduced to a mere humble assistant on at least half of the songs. Still, captivating atmospheric progressivers like "Rise the Witchpower" should leave no one indifferent the only seeming pullback being the not very audible death metal vocals. Some of the guys also ravage the South American underground with the black/thrash formation Insorcist.

Profane Cult EP, 2013
Manifest Rebellion Full-Length, 2015

Official Site

PRAIVENT (USA)

This is a one-man show in which the guy serves melodic power/thrash which creeps forward with not very dynamic mid-paced riffs suddenly hitting progressive heights on the 8.5-min title-track the latter killing the inertia, if there ever was one in the first place, with clumsy balladic accumulations. "Godhunt" is a surprisingly stylish semi-technicaller, and "Fates Decided" is an invigorating epic galloper; the rest flirts too much with the ballad and doom to be a highly recommended listen. The guy provides a mean death metal-ish baritone which kind of suits the minimalistic tone of the music.

The Banishment Full-Length, 2016

Official Site

PRAYERS OF SANITY (PORTUGAL)

Good energetic old school thrash metal which starts with the nice moderate speed/thrasher "Religion Blindness", but soon switches onto a more aggressive play with the explosive "Waiting On Death Row". "Evil May Die" deceives in the beginning that it might offer a softer course, but quickly turns into the next fast-paced killer. No mercy on "No Redemption" either, but "Shards Of Evil" gives the guys the well deserved break, being mid-tempo and laid-back. Three aggressive thrashers follow suit to close this entertaining piece of classic unadulterated thrash, something which the Portuguese scene has to offer more often.
"Confrontations" treads the same path since there's no reason for changing the course after the promising start, the classic thrash pieces which pour from all sides accompanied by shouty angry vocals which are the only more modern element here. Otherwise, the musical blend is similar to the one achieved on the debut the guys relaxing from time to time (check out the pretty cool semi-ballad "Inside 4 Walls") with some more laid-back numbers which is definitely needed after exhausting headbangers like "Too Much To Handle", "Dark Passenger" and "Acid 51" which will scatter you into all parts of the room/house in no time. Still, the faster material clearly dominates and would leave no one disappointed, especially those who have committed themselves to "mosh till you drop".
"Face of the Unknown" is the next in line roller-coaster as few will be those to stand still on compulsive moshers like "Dead Alive" and "Past Present None". "March Forward" almost turns into a handsome technical thrasher, but it's the thrash/crossover joys "Someday" and "Betrayer" that deliver the goods in a better way with their unbridled furious rhythms.
"Doctrine of Misanthropy" is full of unbridled energy like the rousing opening title-track and the tight violator "Hide Your Hate" show, the more laid-back, also more complex, arrangements on "Abomination" a cool diversification, although the guys are obviously fonder of the moshing side of the spectre, adding the lengthy brisker "We Are Built to Suffer" and the closing shredding madness "Destination: Hell" to the foray.

Religion Blindness Full-length, 2009
Confrontations Full-Length, 2012
Face of the Unknown Full-length, 2017
Doctrine of Misanthropy Full-length, 2021

My Space

PREACHER (UK)

This formation play a more elaborate brand of modern power/thrash which is quite clever for its own good the band shredding with competence, but with too many things happening within one song the closing "Let My Dark Arise" alone closing on over 13-min. To these ears the better moments are the more immediate ones: check out the headbanging sections on "F.T.W.".; which aren't that many the guys lashing complex riffs on a dramatic epic base, and the fans of mid-period Fates Warning will be the happiest with this offering. "An Agonising End" is a cool galloper with more aggressive riffage, and that remains the most intense moment on this fairly elaborate affair which also acquits itself with very good passionate clean vocals.

Counterfeit Penitence Full-Length, 2013

Official Site

PREACHER (USA)

Raw, aggressive and generally fast thrash metal which surprisingly sounds closer to the early days of the Brazilian metal scene; the band's style is similar to Sarcofago, Vulcano, Sextrash, early Bathory, too (it has a certain black metal flavour at times). Preacher are probably better musicians than the aforementioned bands, but their approach is pretty much the same: an evil and relentless black/thrash attack.

Trapped In Hell EP, 1987

My Space

PREBORN (BOSNIA & HERZEGOVINA)

This is old school thrash/death that stays more on the corrosive steady mid-tempo side of the spectre, the quarrelsome threatening death metal singer doing bigger damage on the more doom-prone material (“Insidious”), pitching it a tad higher on the speedier strokes (the death metal madness “Black River”). “Expulsion” is another overtly energetic proposition, whereas “Preborn” attempts solid antediluvian rhythms with again doom the leading component. Run for cover for the short pulverizer “Nothing New Under the Sun”, the closer “Untouchable Eternity” another outrage much closer to death metal again.

A Legacy Of Broken Dreams Full-Length, 2024

Youtube

PRECIOUS DEATH (USA)

Based on "Southpaw": I could have blamed these guys for shamelessly copying the Flotsam & Jetsam's "Cuatro" at times if this album hadn't been released a bit earlier. The other target for worship is Death Angel's "Act III". So what we have here is power/thrash similar to the Flotsams' transformation from the 90's, but this one isn't as good inserting funk elements ala Mordred and Death Angel, but when the guys do this, they completely forget about the metal riffs, and these parts are simply bad, having nothing to do with metal. There are also quite a few balladic and heavy/power metal moments. It's only the heavy, pounding guitar work akin to the one in "Quatro" ("No-Can-Do", "Force Fed") which strikes a cord; the rest is nothing more than a failed attempt to sound original, resulting in a very uneven and unconvincing mixture. The band's last, self-titled debut is awful nu-metal, the lowest possible bottom a once thrash metal act could reach.

Southpaw Full-length, 1993
If you Must Full-length, 1994
Precious Death Full-length, 1996

My Space

PRECIOUS INSANITY (HOLLAND)

Atmospheric progressive power/thrash with frequent balladic embellishments and just a few more intense moments ("New Beginning"). The vocal duel between the passable semi-clean singer and the gruff death metal semi-shouter is extremely awkward, and doesn't help the proceedings; neither does the shocking death metal closer "Death Wish" which at least makes some hints with the title.

Vision Demo, 1996

PRECIPICE (USA)

This is a project of two members of Hellwitch. Based on the two demos, the style isn't too far removed from the father band; this is a thrash/death metal mixture with more concentration on technicality than on speed (although some songs excel on speed, too), and more atmospheric with slower, gothic-tinged passages involved as well. The songs here are longer, and the time changes and the great technical riffs keep them interesting throughout. The vocals are totally opposite to the unholy snarls of Hellwitch, deep low death growls ala Jan-Chris De Koeijer from Gorefest. Fans of Massacra, Atheist and Death would also want to check this band out.
The "Foundation" demo is arguably the band's finest achievement, The full-length comes six long years after the demo stage, and the music isn't as technical anymore. The slower gothic passages are here again, and the lead guitar work has improved, but the overall approach lacks a punch, often adhering to less speedy, somewhat dragging sections. In other words what we have is pedestrian gothic-tinged death/thrash recalling the early 90's Dutch scene: Gorefest, Asphyx, also the Swedes Cemetary's early period, etc., but not as good and more thrash-based.

The Foundation Demo, 1994
Black Sun Rising Demo, 1995
Prophet of Doom Full-length, 2001

Official Site

PRECURSOR (AUSTRALIA)

This band incorporate alternative gimmicks into a more rigid thrashy canvas, the final result a quirky parade which ranges from the surreal Voivod-ish "Nursery Rhyme Time" to the outlandish quasi-epic walkabout "Velvet Buzzsaw" which meandering riffs and quiet interludes make it sound like a tractate from the Slauter Xstroyes efforts. "Disco Dick" is just a clumsy proto-grungy non-sense, and "Wish She Had A Handgun" is a bluesy dragger, the most interesting part from this unfocused recording being the boisterous dramatic thrasher "Night of the Dreaded Wee Wee Rats".

Little People, Big Defects Demo, 1991

PREDATOR (BRAZIL)

Bashing, not very clearly produced, old school thrash that hits a relative high with the 6-min instrumental “Predator”, a whirlwind of vehement crescendos hampered by the muddy sound quality. “Kill the Power” is a brief proto-death basher in the vein of the guys’ compatriots Holocausto and Vulcano, the mean screechy vocalist adding his contribution to the sizzling melee, the latter enriched by the rude awakenings “Illusion” and the tad more complex barrage “Slaughter”.

March to the End Demo, 1988

Youtube

PREDATOR (IRELAND)

This is cool power/speed/thrash which has managed to capture the American scene's atmosphere better than some of the bands over there. The guys unleash energetic speedy numbers with echoes of Savage Grace, Attacker and Liege Lord topped by comprehensive clean vocals which are not very attached, but deliver. The guitarists are prone to melodic licks which decorate this effort with several stylish moments: check the guitar duel on the closing instrumental "Celtic Attack" which pays a worthy tribute to the Irish folk music heritage. It should come as no surprise the fact that Anthrax picked these guys for support during their Irish concerts on the "State of Euphoria" tour.

Predator EP, 1988

PREDATOR (USA, FLORIDA)

The debut: a pretty acceptable entry into the classic power/thrash metal side of the genre; the opening "Cursed (Letters From Hell)" is the staple energetic 80's American number, but "Between Vengeance & Forgiveness" tells another story: an awesome technical Coroner-esque piece with mind-blowing riffs and great leads; a song for which alone this album is a must-listen. Unfortunately "Closet Anti-Christ" returns to the more standard patterns being another cool dark power/thrasher paving the way for the smashing semi-technical mid-pacer "Demon Soul" graced by a fine faster galloping ending. "Die Unborn" is heads-down speed/thrash with short screaming leads, and "Icon" is a cool, albeit hardly necessary, nod to the 90's power/speed metal scene to which the excellent high-pitched clean vocals ala Ralf Scheepers (Gamma Ray, Tyran Pace) are very fitting. "Fugue-itive" is 2-min of a technical lead show-off courtesy of the guitar maestro Damien Lee Thorr; a nice offbeat track which seamlessly flows into another major speed/thrasher: "Lone Wolf", intense aggressive shred which completely disappears on the mellower galloping power metal number "Mercy", but the brutal thrashing gloriously returns with the short explosive "A Moment, Sir...". The alternation between the two sides carries on with "In The Name Of God?" which is some more power metal of the American type, before the closing "The Border" wraps it up nicely serving a potent mix of melodic and hard-hitting riffs on a heavy galloping mid-base with the odd semi-technical twist thrown in.
"Born in Blood" is richer in melody, a tendency well reflected on the melo-speedy opener "Days Without Rain". As a matter of fact, thrash isn't very well covered, the overall style clinging between Griffin and early Helstar. "Burn" is a stylish exercise in heavy technical power/thrash, but the rest is pretty conventional old school stuff with interesting lead variations on "Far Beyond Death"; pompous orchestral arrangements on the operatic interlude "Die Not My Hopes"; and a guitar wizard show-off on the closing 2-min instrumental "Caprice 16". The singer is by far the finest asset singing in an attached emotional manner the whole time, a nice reminder of both the first Scanner vocalist Michael "M.A.J.O.R." Knoblich and the aforementioned Ralf Scheepers.

Predator Full-length, 2009
Born in Blood Full-length, 2011

Official Site

PREDATOR (USA, ILLINOIS)

Based on the "Atomic Deconstruction" EP, these folks provide stylish technical thrash which on "Atomic Deconstruction" comes with fast overlapping rhythms assisted by not very intelligible death metal-ish vocals; the constant speedy riffs kind of don't leave much room for a more complex play to be developed. "Intergalactic Expeditionary Strike Force" is in the same vein, but its more elusive rhythm-section leaves space for more diverse arrangements in the middle, including the twisted ending. It would be interesting to check how the band have pulled it off on earlier recordings.

The Executer EP, 2011
Mothman EP, 2015
Atomic Deconstruction EP, 2016

Official Site

PREDATOR T (VENEZUELA)

An energetic good mix between the 80's speed/thrash metal sound (Toxic Shock, Solitaire, Cranium) and a pinch of crossover; the traditionally fast tempo is "broken" by a couple of heavy dark atmospheric numbers ("No God For Me!", the epic power/thrasher "One Day..."). The bass work is quite good, but the singer is hardly an asset, unleashing a gruff death-ish tone. Expect surprises later on, like the extreme ultra-fast thrash/deathster "6-6-Cervezas". The extremity remains for "In The Name Of War", which is blitzkrieg speed metal in the best tradition of Solitaire, and another ultra-track: the smashing speed/thrasher "Open Beer"; "6-6-Cervezas" is another "nuclear" bomb, starting with the funeral march, and later on "flirts" with another popular tune which I'm not sure where it comes from. Time for crossover to justify its presence with "Policia", before "Dia Del Apocalipsis" nails you down with another fine slab of fast uncompromising thrash. This is a true commitment to the classic sound, done in a direct stripped-down manner, without any ado, staying away from both melody and technicality.
"Thrash, Beer & Sex" will give you the first in big dozes, but for the other two you'll have to take care yourselves. Otherwise the music is faithful to the band's chosen path, ripping speed/thrash metal this time coming with a stronger shade of crossover, and with more melodic guitar work. The leads are much more widely covered, but generally the musicianship is in the same direct simplistic vein. The guys abandon the fast pace for a short string of slower songs near the end, but the exiting trio is the highlight pulling out brisk intense thrash/crossover at its classic best.

"Red Day" spreads its wing wider, now moving onto proto-death and more overt hardcore. The resulting "therapy" is a mixed bag although at least the more aggressive deathy passages suit the gruff singer better. The musicianship has decreased in terms of quality, and now the guys bash directly without too much thought put into the proceedings, leading to more simplistic tracks, where only the good leads strike a cord. The rest is energetic, but hardly very impressive, thrashcore with a touch of death.
"Cadaver" is a dark groovy affair which still has its more brutal moments (the raging title-track; the surprising galloping joy "Chronicles of the War", the highlight on the album), as well as a few nice attempts at a more technical play ("Fuck you! God!"; but of course!). There are whole 15 tracks here so one should expect variety in the approach which like on the doomy volcanizer "Drunk", and elsewhere.

March of Death Full-Length, 2009
Thrash, Beer & Sex Full-Length, 2010
Red Day Full-Length, 2011
Cadaver Full-Length, 2013

Official Site

PREDATORY (BRAZIL)

Based on the "Contesting the Truth of Death" demo, these Brazilians provide an aggressive retro thrash/death hybrid which is more attractive on the more laid-back material (the stomping officiant bass-driven "Message of Death") while the other pieces are ornate by spasmodic blast-beats not applied very appropriately. The vocals are on the shouty death metal side. The musicians also take part in the death metallers Chemical Disaster and another classic thrash purveyor: Front Attack Line.
"Dirty Scum Arise" is a modern thrash affair which smells Slayer (the brooding opener "Sickly Psychological Profile") when it becomes tempted by the classic formulas. This doesn't happen very often, though, and the badn just bash with vigour, but with little imagination, all the way sparcely energizing the environment with more intense hardcore-ish moments ("Art for Madness"). The 2nd half is the better one with a more dynamic delivery which strips down the riff-patterns to more direct core-ish formulas ("Welcome to the Army") which even come with a pinch of catchy melodic hooks. Some of the band members also take part in the death metallers Chemical Disaster and the classic thrash outfit Front Attack Line.

Walking To The Trap Demo, 2000
Visions World Apart Full-length, 2005
Contesting the Truth of Death Demo, 2009
Dirty Scum Arise Full-Length, 2013

Official Site

PREDATORY VIOLENCE (GERMANY)

Based on "Hate Nation", this band plays chuggy modern post-thrash with a more frequent adherence to intense pure thrashy moments (the vigorous headbanger "Homicidal Man") with abrasive guitar work and shouty aggro-vocals.

Predatory Violence Full-length, 2007
Meet the Cure Full-length, 2009
Hate Nation Full-length, 2010

Official Site

PREDATTACK (COLOMBIA)

Based on the full-length, this formation specialize in heroic power/speed/thrash which has a lot in common with the 90's movement in this field. The band's "eagle fly free" approach is admirable excluding their ventures into groovier waters although the latter can hardly break the vivid rhythms' stride on perennial epic speedsters like "Prodigal Son" and "Necropolis". The vocalist isn't very suitable to the uplifting musical delivery with his subdued death metal growls, contrasting with the sweeping melodies amply provided.

Dhominization EP, 2013
Alien Nation Full-length, 2016

Official Site

PREDECESSOR (USA)

Based on the debut, this is another rendition of the angry 90's canons done in a slightly more energetic manner than expected also infused with a few catchy melodic tunes ("It Rips, The Destroyer", "The World Outside"). The title-track is an overlong 9-min groovy progressiver showing a more serious attitude, but the latter doesn't quite suit the guys whose more direct side (the dynamic Pro-Painesque "The World Outside") is way more attractive. The vocals are the staple quarrelsome shouts seldom intercepted by much better soulful clean ones.
"Through the Winter's Cold" emphasizes on the groove more, and as a result the sound is quite heavy with jumpy distractions which are not bad, actually, and have clear progressive, also alternative, pretensions ("Through the Winter's Cold") at times. Later on in the second half one will come across bluesy ballads, stoner/doom cuts, even a nice headbanging passage on "The Stand"; all this finished with the dreamy 8-min opus "Hell is on my Side".

Learning to Suffer Full-Length, 2010
Through the Winter's Cold Full-Length, 2014

Official Site

PREDICTION (AUSTRIA)

"The Unholy Flame": a classic black/thrash combination which rages on for most of the time, shooting remorseless cuts like “Cursed Steel” and “Old School Cult”, the headbanging fiesta never ending, the vicious spatout death metal vocals throwing more bile and venom into the furnace, the sinister mid-pacer “Possessed” and the brutal black-clad “The Gates of Angband” adding variety to an openly intense hyper-active entry. Some of the musicians also played in the death metal formation Interfectorem.
The debut is a darker crueler recording, the vicious proto-blasts of “The Devil's Prediction” partially alleviated by the speed/thrashing regularity of the title-track, this formula exercised most fervently, all the way till the end where one will encounter the crusty simplicity of “Blood of the Slaves” and the black-soaked oblviousness of “Endless Pain” (which is not a Kreator cover).

Demonical Possession Full-length, 2015
Hell Strikes Back Full-length, 2017
The Unholy Flame Full-length, 2023

Youtube

PREDICTION (POLAND)

This obscure Polish formation plays really cool classic speed/thrash crossing the early German trends (Destruction, Exumer) with the American scene (Sentinel Beast, Whiplash). The music is vigorous and intense, also touching Rigor Mortis on the more intense material ("Agresja", presumably "Aggression" in Polish, which justifies its title despite the few melodic hooks which smell Paradox). The sound quality is crystal clear giving the guitars a lashing crisp sound although the singer is a pullback with his gruff low-tuned death metal delivery.

Nihil Desperandum Demo, 1993

Fan Site

PREFERENCE (AUSTRALIA)

Based on the "Tomorrow" EP, these guys offer a boring uneventful blend of groovy post-thrash and alternative. The singer sometimes uses a more interesting melodic blend similar to Dax Riggs (Acid Bath, also Agents of Oblivion), but unfortunately most of the time he sticks to shouty hardcore patterns.

Greed Death Time Money EP, 2006
Tomorrow EP, 2006

Official Site

PREJUDICE (BELGIUM)

Based on "Reality", this is chunky, technical thrash/death metal, very well done, quite similar to Atheist (think "Unquestionable Presence", above all), and also their compatriots from the not so distant past Chemical Breath. This is compelling music with some of the finest technical riffs in a while and head-spinning time changes. Even the short opening intro "New Breed" comprises a whirlwind of furious technical guitars which before it turns into a vortex of jaw-dropping elaborate sections on the following "Act Of Despair". And it's only the beginning: later on one will come across spinning virtuous leads on "Dictated Lives"; more aggressive deathly passages on "Embrace" and the speedy technical madder "Betrayed"; twisted proto-groovy moments on "In-Vitro"; etc. "Nuclear Malediction" is an exemplary technical stomper near the end with steam-rolling riffage propelling the song into Bolt Thrower and Benediction waters served with a strong technical twist. The vocals may not be to everyone's taste, though: their low-tuned grunty/guttural character with a pinch of hardcore is a bit of a spoiler.
"Dominion of Chaos" moves into the brutal technical/progressive death metal realm by retaining the technical play, but it would be of little interest to thrash metal fans. "Megalomanic Infest" is a clear disappointment abandoning the technical flourishes moving towards the slamming less expressive side of death metal.
The debut is another strong release the technical flair all over the album even strengthened by a few atmospheric keyboard-infused passages. The energy nicely gets decreased on a couple of heavier numbers ("Eyes Only") where the technical complexity of the other material hasn't been reached, but one will have enough time (or probably not) to swallow/savour the mazey arrangements on puzzlers like the jumpy chopper "As Long as it Lasts", or the vortex-like riff-fest "Last Scream". Other delights would be the short technicaller "Shadows of Society", the little more straight-forward galloper "Prejudice", and the standout technical death/thrashing title-track ala Atheist at the end which is the best possible way to finish this excellent offering also containing a nice slow lead-driven interlude. The only complaint comes from the vocal sector where the guy has already settled for those semi-shouts with the not very pleasant hardcore-ish/death tone.

Broken Promises Full-length, 1998
Reality Full-length, 2001
Dominion of Chaos Full-length, 2004
Megalomanic Infest Full-Length, 2009

Official Site

PREMATORY (BELGIUM)

These "thrashers from hell", like the title of the opener says, deliver classic speed/thrash of the more laid-back speedy type with speed metal playing a major role ("Evil Perfection") here and there. "Thrash Olympics" may indeed win the "thrash olympics" with its fiery riffs which sound as though directly taken from the Metallica debut. After this exhausting number the band relax with the more power metal-based "We're Titans" which unfortunately brings after it dragging slower pieces making the 2nd half a bit dull and less inspired except for the effective steam-rolling closer "Toxic Experiment". The vocalist is a sure-handed attached semi-shouter whose spitting lines have both emotion and spite and are a really cool asset also offering some diversity with a more aggressive singing from time to time.
"Corrupting Influence" doesn't disappoint although the approach isn't as fierce, and power metal comes more often to remind of itself, even on the presumable album leader "Toxic Experiment" which unleashes some admirable screamy leads. Things become thrashier in the second half with the cleverly-executed "Sentenced For Life" which embraces quite a few moods and tempos including a nice balladic interlude. The thrashniness remains for the final string of cuts, but the real stepping on the pedal is done at the end on the title-track which again provides less ordinary entertainment with more progressive arrangements. There's not much "hell" on display here the band mixing the delivery to appease a wide gamut of fans by sacrificing quite a bit from their primal energy.

Suiciety Full-Length, 2010
Corrupting Influence Full-Length, 2014

Official Site

PREMATURE BURIAL (SPAIN)

There's just one musician behind it all, the name JM Dopico, a veteran from several death, grindcore and doom metal cohorts from the Spanish underground; the style here is dark hypnotic old school power/thrash which can be pretty effective on the elegiac doom/semi-balladic wonder "Oceanic Burial Ground", or on the high-octane tribute to Saint Vitus and Pentagram that is "Temperance I Tombchild". Elsewhere we have the crusty proto-speedster "Alpha Wolf In No Man's Land", the sprawling epic doomster "Condemned To The Twilight Zone", the speed/thrashing roller-coaster "Creator And Destroyer", and the rock-ish sing-alonger "The Grave Song" the latter partially ruined by Dopico's hoarse rough, death metal vocal performance.

Antihuman Full-length 2019

Official Site

PREMONITION (USA)

The band's debut demo is one of the finest gems hidden in the American metal underground of the 80's. It reminds in a magnificent way of some of the late 80's masterpieces: Torture's "Storm Alert", Forbidden's debut, Viking's "Man Of Straw", Helstar's "Nosferatu" and also Gammacide in the faster, more aggressive sections. The musicianship is on a very high level: very technical guitar work mixed with speedy intense parts and a great singer who uses his clean voice most of the time, but also does a very good job when he goes for the higher tones.
"Visions of Emptiness" might startle you a bit in the beginning, mostly because of the new singer who has this hardcore-ish blend in the voice, characteristic of the modern 90's bands' singers, but the music is nothing short of outstanding: superb technical thrash, not too far from the first demo, but less speedy, and more technical. The time changes would make even Coroner (who are the closest soundalike this time: think "Mental Vortex") and Mekong Delta pay attention, and the heavy riffs will crush you like a steam-roller. There is not much sheer aggression involved here, the concentration is purely on technicality and complex song structures which never lose focus, and are even graced by nice leads.
"Brutal Healing" is another exemplary display of technical musicianship, albeit in a more updated 90's way, with a heavy proto-modern guitar sound well shown on the 10-ton technical steam-rolling opener "Unlike You". The crushiness carries on with "Of Spirit, Body, And Mind" which is a choppy hectic track with a nice speedy break. "Brutal Healing" will "heal" you "brutally" with super-heavy smashing riffage with not much technicality involved. "Induced Psychosis" is another busy technical song, quite dynamic, even headbanging at some point near the end, the very one occupied by a twisted technical riff. The vocalist continues in the same hardcore vein, maybe with an added angry blend to more ably support the crushing more modern-sounding music.
The modern trends of the 90's have obviously affected the band's sound, and by the time of the release of their last demo, the music has almost completely transformed into heavy groovy 90's post-thrash; not bad, but pretty derivative.

Demo 1989 Demo, 1989
Visions of Emptiness Demo, 1992
Brutal Healing Demo, 1993
The Human Condition Demo, 1995

My Space

PREMONITOR (AUSTRALIA)

An ultra-underground recording of primal, brutal thrash/death which, despite its raw production, manages to capture the manic intensity of gems like Merciless' debut and Massacra's 'Funal Holocaust". The tempo varies also recalling the early histrionics of Infernal Majesty, and the singer tries hard to lead the proceedings with his sinister, witch-like delivery which is severely obstructed by the pristine sound quality.

Skeptic Remains Demo, 1992

PREMUNITION (USA)

Five songs of classic headbanging thrash which moves from all-out speedsters ("Endless Genocide", "Awaited In Vain") in the Bay-Area tradition to heavy mid-paced smashers ("Call Of Vengeance"). "Blind Faith" mixes both tempos, and the singer gives the music a slight hardcore colouring with his Kurt Brecht (D.R.I.)-like voice.
"Creepers" is built around the songs from the EP, the newer material placed in the beginning, so expect a similar old school speed/thrash assault which is especially impressive on the forceful intense opener "Death March". Things slow down on the softer "Power Wolves", but "Creepers" is super-dynamic speedy thrash ala Angel Dust, after which some relief is offered on the heavy stomper "Ghosts of Kampala". Then come the tracks from the EP in an unchanged form, split in the middle by the great fast thrash/speedy "Instrumental" which also blast-beats for a while.

Call of Vengeance EP, 2009
Creepers Full-length, 2009

Official Site

PRENATAL END (GREECE)

Decent semi-technical thrash with longer tracks and cool guitar work, but the guys are not brave enough to come up with a more powerful technical sound. On top of that the pace is slow-ish to mid-tempo, and with the length of the songs exceeding the normal one, the overall sound is kind of monotonous, a feeling further aggravated by the clean, but weak one-pitched vocals, which can not be saved even by nice balladic moments ("Pilgrims of Despair").

Pilgrims Of Despair Demo, 1989

PREPARED TO KILL (BRAZIL)

This is good stuff with clear 80's thrash metal flavour: think Kreator, Destruction; the guys offer a Destruction cover at the end of "Thrash Hell Ultimate": "Curse The Gods". The "The First Murderer" offers 2 songs of the same stuff: energetic edgy Germanic thrash metal this time coming with a more technical delivery resulting in longer a bit more complex numbers.

When Death Calls Demo, 2002
Thrash Hell Ultimate Demo, 2004
The First Murderer Demo, 2009

My Space

PRESCIENCE (FRANCE)

A promising young outfit who look at the more engaging progressive thrash sector as a field for their exploits, and indeed one would do no wrong whatsoever checking their output which at this stage only comprises four compositions (the opening "Prelude" is a 2.5-min pile of suggestive all-instrumental stomps) with "Shining Flesh" rushing onward with crisp speedy riffs, the riff-fest acquiring more threatening proportions later, with intriguing technical quirks adding more to the volatile canvas which transforms into a surreal spacey parade on "Out of the Grave", a tantalizing symbiosis of Voivod, 90's Coroner and the Poles Myopia, a dissonant wonder that tolerates both labyrinthine walkabouts and quiet fusion-esque passages, all this coming on top of the staple speedy building blocks. "Haunted Cosmos" follows a similar pattern, but goes deeper into the psychedelic Voivod-ian rabbit hole, this track a forgotten chapter from "Killing Technology", with really nice melodic lead sections and an alluring balladic interlude. The vocalist doesn't interfere decisively, but his effective spiteful semi-recitals are always legitimate, recalling Ron Royce (Coroner again). It would be really interesting to see how this talented young batch would develop in the future, but the big potential is definitely there.

Out of the Grave Demo, 2019

Official Site

PRESCIENT (USA)

This is very good dark progressive power/thrash metal with dark doom shades akin to Communic, Nevermore's debut, respectively Sanctuary's "Into the Mirror Black", Pathos, later-period Hexenhaus, etc. "Frame Dragger" opens the album in a seismic thundering manner with some of the heaviest riffs around topped by excellent deep soulful clean vocals which are at times intercepted by more brutal proto-death metal ones; watch out for the brilliant elegiac doom exit on this one. "Footfall of Strangers" is a compelling blend of hard thrashy riffs and calmer proto-balladic sections. This song sets the tone for most of the material following suit, with a fine short atmospheric electronic piece "In Disbelief" breaking the darkness in the middle. It's followed by the only more open exercise in doom ("In the Eyes of Lesser Beings"), before "Mortal" speeds up with more energetic galloping riffs. "Denominations" is a dark progressive masterpiece, vintage Sanctuary with the best vocal performance, followed by the semi-balladic "The Night I Saw the Heavens Burn" which main riff will remind you of Nevermore's "What Tomorrow Knows", and this song can indeed fit into that band's debut any time. The same, however, can't be said about the closer "A Kind Remembrance" which is a romantic piano-dominated ballad with the singer showing his more operatic vocal abilities. Still, it remains more than a fitting epitaph to this slightly depressing, but very well-executed, slab of dark progressive music, a valuable addition to a style which boundaries are yet to be reached.

Emergence Full-Length, 2011

PRESENT DANGER (HOLLAND)

Based on "Face the Truth", these folks offer melodic modern-ish power/thrash which is too deeply immersed in mid-paced waters to leave a lasting impression. "The Viking Age" is a rousing battle hymn and the galloping "beast" "Freeze to Death" will make you jump around for a few minutes... the rest is just too friendly and mild to make the thrash metal fans listen to it again. The singer, however, does a good job with his emotional diverse clean tember and goes away with all the accolades.

Nightmares Full-length, 2003
Face the Truth Full-length, 2012

Official Site

PRESIDENT (SPAIN)

Based on the single, this is melodic power/thrash metal topped by nice lead guitar work resembling the works of German acts like Liar, Tyrant, early Risk, etc.
The full-length carries on in the same direction maybe introducing a slight modern edge to the guitars.THe approach is light-hearted with speed metal saying its word more regularly ("Force Power", "Fucked Nightmare"). "Bad Visions" introduces some nice progressive "visions" which are that close to reaching towards the higher models from the German progressive/technical thrash metal wave which was in full bloom at the time. "Have a Nice Trip" is even more serious in its more intricate applications, but the guys never give this interesting side of their repertoire to develop fully since from this moment on we have happy-go-lucky speed metal in the vein of the previously mentioned American and German heroes.

Fucked Nightmare Single, 1989
Have a Nice Trip Full-length, 1993

My Space

PRESIDENT EVIL (GERMANY)

The full-length debut: a blend of stoner/doom and thrash metal; it might not sound very appealing, but cool headbangers ("Boneless") could be found here. This is not hard-hitting music, but it's interesting to hear how these two contrasting styles could co-exist.
"Hell in a Box" brings nothing new to the scene, maybe it sounds less thrashy with less intense guitar work, but happy rockers, like "King Asshole", will surely make you dance around.
"Back From Hell's Holiday" has very few relations to thrash, if any at all ("Black" is a heavy hammer with some moshing tendencies), developing in a frolic stoner/doom manner till the end with strong bluesy undercurrents more evident towards the end where the approach comes almost unbearably slow recalling the semi-funeral dirge of acts like Sleep. Sleep, sleep....

Evil Goes To Hollywood EP, 2005
Thrash'n Roll Asshole Show Full-length, 2006
Hell in a Box Full-length, 2008
Back From Hell's Holiday Full-Length, 2013

Official Site

PRESIDIO (ARGENTINA)

Based on "Introspeccion", this band play classic power/thrash that mostly relies on laid-back mid-paced tempo ("No Pierdas Tiempo") to build its steady skeleton, the cool clean mid-ranged vocals excelling on the soulful ballad "Horizontes", before "Enemigo Interior" shatters the steadfastly-built picture with sharp lashing riffs.

Contra la Adversidad Full-length, 2020
SeKthor Full-length, 2022
Introspeccion Full-length, 2024

Official Site

PRESSBOIL (CZECH)

Dynamic, jumpy thrash/death of the old school, which is both clever and semi-technical, and intense and aggressive. The last two tracks lose the plot a bit being shorter and less serious, incorporating blast-beats and hardcore rhythms to a not very positive effect. The vocals aren't a very big asset, either, being low-tuned, growling and muffled with a guarrelsome note.

Promo Demo, 2008

Official Site

PRESSKOPP (GERMANY)

Groovy industrialized modern thrash metal sounding like a mix between Puncture and heavier Pantera.

Demo Demo, 2000

Official Site

PRESTIGE (FINLAND)

A highly lively thrash/crossover metal band of the old school; after failing to make any big impression with their first two albums, the band increased the aggression on their last one, moving it towards the hardcore/proto-death arena with sudden more intricate sweeps those recalling their Swiss brethren Lunacy. This album actually packs a punch at quite a few times with its more polished, more lustrous production the latter perfectly fitting the more intense sound that easily brings the winds of death even on the maddening brutalizer "Will This Ever End?". The assault never stops here even on the longer material, seemingly more carefully-plotted material ("Crack Children"), but watch out for some twisted, surreal technicality that graces some cuts (the superb diverse rifforama "That Makes Me Sick", the goofy unpredictable shredder "Sniff") making things quite interesting at some stage. "Too Greedy" introduces a soothing balladic etude with great virtuoso leads before a choppy, jumpy "carnage" commences siding with the lofty contributions made by their compatriots Protected Illusion and Maple Cross; in other words, expect a smattering technical shredfest sustained in a less serious, humorous tone before a thrash/crossover carnival begins out of the blue in the second half with some of the cuts from it ("Break The Ice") every bit as compelling and crooked as the longer material, with bizarre fast-paced escalations ("Thursday The 12th") creating more uplifting atmosphere as a finishing touch to this highly entertaining, full of pleasant surprises, opus.
"Selling the Salvation" is another hyper-active affair, but the delivery isn't as unpredictable the band moshing intensely with an expressed hardcore vibe the latter seldom on the purely bashing side even coming with delectable melodic tunes on "Maggots". The title-track slightly puts things under control, but this is still a highly energetic roller-coaster regardless of a few other stopovers witnessed along the way like the soothing balladisms at the start of the misleadingly-titled "Bed Time Story", and the stomping mid-tempo cavalcades on "Miserable Life".
The debut is, ironically, the closest-sounding to pure thrash recording with the crossover element not as prominent; and yet, it's the least interesting one of the lot despite the presence of engaging, more dexterously-assembled diversers like "Dead By Drugs" and the title-track. Grindy outrages like "Rotten Angel" swiftly turn the tables towards the other extreme, but serious solid thrashers like "Gods" and "Punishment" nicely balancing things out, exuding the requisite proficiency without any more contrived pretensions, the guys not feeling in a very competitive mode to race with the loftier, technical/progressive examples (Stone, Flounder, Nomicon, Statue, etc.) from their homeland at this early stage.
"Reveal the Ravage": welcome welcome back, you prestigious veterans! Let's see what you have to offer now, after a string of impressive slabs in the past... well, this comeback effort is pretty simplistic and unpretentious, a classic thrash/crossover blend but almost completely devoid of originality and creativity... it has plenty of energy, sure, but that's to be expected from a thrash/crossover album, right? All the tracks are in the same "mid-tempo vs. speedier" arrangements, the fast-paced infectiousness of "In Remains" leading the not very striking show which also receives half-a-thumb up for the cool atmospheric, semi-balladic developments on the closing "Prime Time".

Veijo EP, 1989
Attack Against Gnomes Full-length, 1989
Selling the Salvation Full-length, 1990
Priest Single, 1990
Parasites in Paradise Full-length, 1992
Reveal the Ravage Full-length, 2021

Official Site

PRESTO? (BRAZIL)

Based on "Atentado Sonoro", this is the style of Cryptic Slaughter's debut "Convicted" having survived up to present days; in other words, these guys provide extremely brutal uncompromising thrash/crossover with a frequent adherence to bashing grind, shooting very short barely 1-min long bullets/tracks in a furious aggressive manner. The closer "Casos Como Este" is close to 4-min (!), although the second half is just a radio sample playing merry rock'n roll.
"A.Q.N.P." is the same uncontrolled fury, which this time is pure hardcore for at least half of the album, bashing the whole time through the 20 tracks most of which seldom reach the 1-min limit.

A.Q.N.P. Full-length, 2000
++dio Puro Concentrado Full-length, 2002
Atentado Sonoro Full-length, 2004
Comportamento Macabro Full-length, 2009

My Space

PREVAIL (CROATIA)

These Croatians provide modern laid-back power/thrash which is full of catchy melodic hooks and plenty of balladic sections (the cool ballad "Way Back Home"). This is peaceful music without any speedy temptations suffering a bit from the vocal side where the guy sings in a not very attached shouty manner lacking the melodic blend which could have made this offering a more attractive one.

First Conflict EP, 2012

Official Site

PREVALECE (ARGENTINA)

This Argentinian formation specialize (based on the debut) in the staple for the country friendly power/speed/thrash which holds no surprises whatsoever for those who have already gotten quite familiar with the works of their compatriots Horcas & Hermetica. The few hard speed/thrashers ("El Legado", ("Unico Camino") are easily dissipated by the prevalent laid-back rockers which deliver in a way, especially the dramatic closer "Maestro" which could pass for a progressiver with its more elaborate arrangements and the cool semi-balladic passage.
"Sin Ledmites" is a more aggressive effort the more intense approach nicely epitomized by the short ripping title-track and the vigorous speed/thrashing roller-coaster "Tormento". Elsewhere the delivery is still more timid, but rousing gallopers like "El Aguante" should keep the heads moving in unison with sweet memories of the 90's power/speed metal scene. The closing "Exterminio" is a surprisingly smashing headbanger and steals the show at the end with its hard remorseless riffs bordering on Slayer.

Guerra Espiritual Full-Length, 2014
Sin Ledmites Full-Length, 2015

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PRIAPISM (USA)

This is modern technical/progressive thrash with aggressive shouty death metal vocals. The approach is creepy and minimalistic graced by sudden fast-paced outbursts (the opening "Petrified Greed") which create a lot of dynamics throughout the lengthy (6-8min) compositions. Hectic eventful cuts like "Broken Beliefs" and "Destined To Fail" remind of Atheist quite a bit, but generally the riffs are a lot more moderate and the song-structures are more serpentine and contrived (check out the labyrinthine "Breeding Our Demise/After"). "Deadliest Sin" is a short psychotic hallucinogenia, a masterpiece of manic frantic technicality. "Fearless" is a brave step into disheveled jazz-influenced intricacy before the final "Sacrifice" wraps it on with spastic twisted, doom riffage the latter accentuated by the shouty death metal vocals.

Prey|Pay|Obey Full-length, 2012

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PRICE OF APATHY (USA)

This US trio indulge in brisk abrasive old school thrash which invariably has its less controlled bashing side (the title-track), but there are also moments which spell intricacy and ambition ("Bathed in Blood", "Fear"), the brutal deathly "Confession" a drastic change of scenery, the thrashing anthem "Kill the Light" way more appropriate, racing with the wild less disciplined "The Dead Can't Speak" for the premier position here, the closing melo-speedster "Am I Dead" another positive occurrence. The vocals are harsh shouty death metal-ish, rending themselves at every opportunity.

Thousands Die Full-length, 2022

Official Site

PRIEST OF DEATH (BRAZIL)

Based on the "Extinction Web Pack" EP, this act offers cool old school thrash metal coming with a good sound quality and crisp energetic guitars. The tempo is pretty fast seldom reaching the less bridled Slayer-esque aggression ("Message In A Bullet"), but delivers all the way. The vocalist is also on par with the good music singing in a detached gruff semi-clean manner similar to Rick Astley (Xentrix).

Solut)es Violentas EP, 2008
Extinction Web Pack 2010 EP, 2010

Official Site

PRIH LOP (RUSSIA)

The debut: this young Russian act plays a melodic brand of power/speed/thrash metal coming as a more edgy version of the 90's power/speed metal sound. The riff work is often interrupted by melodic hooks although the guys are not strangers to more intense thrashing ("I Am") ala early Iced Earth. The pace is mid for most of the time also spiced with vigorous galloping rhythms ("War of Property", "The Past Love"). The closer "A Man Without a Name" is a nice heavy ballad with a slightly flat unemotional vocal performance.
"Razon Detra" follows a similar path and is another fairly good effort with more hard-hitting riff-patterns and longer more complex compositions. Raging thrash reigns supreme even on more clever exercises, like the Paradox-worship "Caligula" and the more modern-sounding speedster "Hour of Death". Progressive speed/thrash ala Manticora and Paradox again will strike you with might with the sweeping "Nuclear Age" although the very tender ballad "Follow a Star" right after it would be a pullback despite the attached clean vocal performance. Things get back on track immediately with the galloping shredder "Nothing to Believe" and the melodic virtuosity displayed on "Explode the World". The album finishes with a string of slower less eventful numbers, but its impact is hardly diminished the guys pulling out an inspired performance with an appealing diverse character.

Puppet of the Faith Full-length, 2009
Razon Detra Full-Length, 2012

Official Site

PRIMAL ATTACK (PORTUGAL)

This is just one song (guess the title!) which shows this outfit pulling out energetic thrash/crossover with modern shades coming from the sparce slower groovy passages and the attached semi-shouty hardcore-ish singer. The sound quality is clear giving the guitars a boosted playful sound.
The full-length appears shortly after the demo, and it follows a similar path maybe a bit more modern-inclined than before which results in heavy mid-paced riffs paving the way with not much energy used for the recordings. The playful closer "Road to Nowhere" provides some crossover joy as a finishing touch, but this effort is not very exciting not taking any risks, just following very familiar, well-trodden roads.

Strange Attraction To Tragedy Demo, 2012
Humans Full-Length, 2013

Official Site

PRIMAL CREATION (BELGIUM)

Based on the full-length debut, these folks provide energetic modern thrash not far from early The Haunted with more melodic arrangements ("Cast the First Stone") roaming around as opposed to invigorating gallopers like "Good Riddance" and impetuous speedsters "Emperor". The singer is a death/semi-hardcore-ish shouter who occupies quite a bit of space without ruining the picture too much.
"News Feed" is another dynamic slab of the good old thrash, the moshing vehemence of "Please Disperse" pairing well with the more laid-back speed/thrash veneer of "Vial Play". The mean death metal vocals don't sound misplaced; on the contrary, they add up to the dramatic setting which also boasts the presence of the progressive roller-coaster "Antillectual Disease" (check the brilliant melodic leads on this one), and the nicely atmospheric brooder "Watch It Burn!"

The Struggle EP, 2013
Demockracy Full-length, 2017
News Feed Full-length, 2021

Official Site

PRIMAL ENEMY (PORTUGAL)

Retro thrash with largely heavy dramatic extrapolations; the shouty hardcore-ish singer fits the soundscapes, those sustained in a predominantly mid-paced march, the speed metal joy "Rusty Hanger" also containing a merry crossover sting, the angrier moshers "Hypocrisy's Law" and "A Leader to Follow" leading the pack towards more bellicose pastures. Some of the band members are also busy with the thrash/crossover outfit Diskillery and the modern post-thrashers Bray Road.

Milwaukee Sewer Metal Full-Length, 2023

Official Site

PRIMAL RAGE (FRANCE)

This act aren't some newbies; they did their fair share from the scene in the mid-90's when they produced a string of demos in the retro thrash genre. Nearly twenty years later the name of the game is modern thrashcore which doesn't sound as appealing, the quarrelsome shouty vocals adding more to the abrasion and the noise, a few more polished shredders ("Kill Yourself") creating more proficient atmosphere for a bit, and overall there isn't energy missing from this slab. It's just that protracted groovers like "No Cure For Hate" don't do much to elevate this pedestrian recording towards loftier ground.

Awakening the Masses Full-length, 2021

Official Site

PRIMAL RITE (USA)

Based on the full-length, this act provide abrasive hardcore-ish post-thrash which doesn't rely on speed too much although a couple of cuts ("Interference") are admirable headbanging achievements. Most of the album consists of more laid-back, mid-paced material ("Sensory Link to Pain") the proceedings ruled by intense shouty semi-death metal vocals.

Complex Life of Passion EP, 2016
Dirge of Escapism Full-length, 2018

Official Site

PRIMAL SCREAM (USA)

Simplistic, basic thrash metal mixed with crossover elements; the guys start quite well with short direct thrashers ("State of the State", "War and Sin"), but the music partially loses its edge on more laid-back numbers ("Last Breath", "Kill the Light"). The intensity springs up here and there ("Ignorance Is No Excuse", "Mr. McCreedy") later on as well as on the nice closer "Shot on Sight" which thrashes with force combined with stomping moments ala Celtic Frost.

Volume One Full-length, 1987

PRIMAL THREAT (USA)

There's just one musician involved here, Tim Pickett aka Metal Tim, who specializes in retro thrash/crossover of the pounding mid-paced variety, "Dental Records" speeding up to liven up the setting, the dirgy sinister march "Morbid Spectrum" a cool nod to early Celtic Frost and Dream Death, "Strychnine" being a lively thrashy roller-coaster with sharp cutting riffs. Tim provides a shouty, on the verge of hysteria, timbre behind the mike, a somewhat exasperating quarrelsome presence.

Strychnine EP, 2020

Official Site

PRIMAL WATERS (USA)

The debut: this new act indulge in cool melodic classic power/thrash which is imbued with nice melodic touches the latter a stark contrast to the semi-reciting deathly vocals. The riff-patterns take more formidable proportions ("Eyes of the Healer", the galloping beast "Beast Slayer") here and there, but it's the beautiful melodies which weigh more here, as well as the heroic battle-like hymns like the title-track and the semi-balladic "Frozen Flesh", the closing "Pulse" being another addition to the group with a more serious progressive approach. Some of the musicians also play in the modern death metal formation Faith Buried in Flames.
"Recrudescence" is imbued with a more modern sound which also comes accompanied by harsher death metal vocals, but on the other hand there's an accentuation on the more technical play as evident from cuts like the creepy "An Odd Time to Wait" and the faster-paced shredder "Betrayed". The hypnotic atmospheric guitars on "Imminent War" are another pleasant moment as well as the soaring melodies on the title-track which pair well with the semi-technical exploits on the sinister closer "Cursed and Poisoned".
"Primogenitor" moves more towards the modern thrash/death idea with strong shades of the Gothenburg school with more stylish technical exercises ("The One") floating around, making things less generic. "Wrenching, Gnashing" is another winner from the technical department supported to an extent by the quirky laid-back progressiver "The Finder", the closing title-track another less ordinary representation with bombastic progressive configurations.

Dichotomy Full-Length, 2014
Recrudescence Full-Length, 2015
Primogenitor Full-length, 2018

Official Site

PRIMATE BLOOD (ECUADOR)

Old school power/thrash that has its covert semi-technical vibe ("Preso del Humo"), but most of the time this is right as rain stuff which sniffs of more modern tendencies ("Huye") on occasion, also clinging towards the balladic realms ("Fragmentos de Mi", "Basura") here and there. The gruff hardcore vocals don't quite shine on those moments, but are given more room on the sprightly energizer "Inhala" and the heavy more thought-out "Miseria".

Who Lives, Who Dies? Full-length, 2024

Official Site

PRIME EVIL (USA)

Based on the "The Manifestation" demo, this band come up with a fairly interesting semi-technical mixture of thrash and death metal which bears resemblance to the Incubus debut, and even Nocturnus, but there are also slower heavier sections ala Celtic Frost, and although the guys definitely have the necessary skills to pull out something more complex like they show here and there, they prefer to stick to the more straight-forward thrash/death metal approach which still delivers the goods.
The self-titled demo is direct aggressive thrash bordering on death metal not miles away from Dark Angel's "Darkness Descends" and Slayer's "Reign in Blood". "Living In Fear" slightly betrays the brutal character of the demo, being longer, a bit slower and more melodic with a crossover attitude and cool choppy riffs.
The "Industry" demo retains the technical edge from its predecessor, but the delivery is quite intense and relentless "Terminal Dementia" thrashing like demented indeed with choppy stop-and-go rhythms breaking the stride which becomes more technical and meandering on "Global Degradation" before "Artificial Intelligence" serves another portion of speedy nervy staccato riffs. More stylized chaos with "Redemption" which is close to matching the frenetic escapades of Hellwitch without the proto-blasting attempts.
The "Evilution" EP is a prime slab of old school technical thrash/death with spasmodic blasting outrages ("Crucifixion Aftermath") taking turns with more entangled serpentine exercises ("Barbarick Rites").
These veterans were finally able to reach the official release stage which shows that they haven't forgotten how to play the good old intense retro thrash which comes both more technically and more modern-decorated (check out the twisting "Plague of Humanity" for both insertions) at times. "Soul Shattered" is maddening technical death metal shred after which one will find it hard to predict the ensuing tracks among which "Cannibal God" is another stylish display of technical death metal dexterity. "Horns of Rapturer" is a cool break from the intense delivery being more restrained avantgarde thrash; after which the massacre continues reaching blast-beating extremes on "In Defiance" and on the twisted closer "Strangulated Decapitation" the last indication that the band have grown considerably as musicians and should finally find the exposure they by all means deserve.

Prime Evil Demo, 1987
The Manifestation Demo, 1988
Industry Demo, 1990
Evilution EP, 2012
Blood Curse Resurrection Full-length, 2015

Official Site

PRIME MOVER (BRAZIL)

Based on the debut, these guys offer 90's heavy post-thrash, quite typical for the time stuff with good melodic clean vocals which this below average music simply doesn't deserve. There are rock-ish, punk-ish, hardcore, alternative and grunge elements inside, and expectedly the final result is quite mish-mashy and unappealing, at least to the regular thrash metal fan. The band members have two other much better, and more classic-sounding, projects: Hammerhead, with whom they released one good Bay-Area influenced full-length in 1992 ("Shadow of a Time to Be"), and Stage Diver with whom they produced one demo the same year.

Pull it Off! Full-length, 1995
My Experience Full-length, 1997

PRIME SPECIMEN (USA)

The debut: this duo indulge in dynamic modern thrash/death which comes as thrashier and more varied Dew-Scented: just listen to the definitive mosher "Condemned" and try to remain still on your seat. "Insignificunt" is another not very restrained rager which also gives plenty of room for the talented lead guitarist to display his skills. The singer is an angry quarrelsome shouter with both hardcore and deathly overtones.
"Regeneration" isn't radically different from the sound on the first instalment, the band complicating the environment initially with the diverse "Devotions", but later on they spit out direct non-fussy headbangers (the death-laced "Dark days", the unbridled blasting "In Prophecy"), the dark atmospheric "The Ceremony" calming the ball down with a portion of melodic less intense arrangements.

Prime Specimen Full-Length, 2017
Regeneration Full-length, 2021

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PRIMEVAL (USA)

The EP is intense technical thrash/death metal with very brutal low-tuned vocals and nice keyboard tunes which will remind you of Nocturnus and early Therion. The tempo is predominantly mid, often interrupted by jumpy faster sections, and "The Puritan" is a cool doom/atmospheric gothic/death metal piece. Apart from four songs, there's one remix of a track from their full-length debut, Manipulation", a surreal weird doom composition with a backward play ala Morbid Angel present as well as one live recording of a song from that same album, called "Lal": a hectic technical death/thrasher.
The full-length is a take on the brutal death metal idea with a few more technical ideas carving burrows into the hyper-active melee.

Temptation Full-length, 1997
Scorn of Incubus EP, 1998

Official Site

PRIMITAI (UK)

Based on "The Line of Fire", these guys provide epic power/proto-thrash which is predominantly mid-tempo full of infectious catchy melodies. So don't expect many headbanging moments, if any, but there will be a few more complex, almost progressive sections, on the longer material ("Nocturnal Hordes", "End Of Your World"). "The Craft" is a cool melodic speedster, but the concentration is clearly on laid-back rhythms and officiant epic atmosphere. The singer serves the musical approach right with his attached clean timbre without emitting too much passion.

Through the Gates of Hell Full-length, 2007
The Line of Fire Full-length, 2010

Official Site

PRIMITIVE (BRAZIL)

Based on "Metal Baphomet", these folks serve old school black/thrash metal, the black metal aspect more elaborated on, and paired with a tinge of crusty hardcore ("Evil Awake") it makes up for a curious listen, especially with those shrieky, over-the-top hysterical vocals roaming around. Some more sensible speed/thrash starts churning out of "The Burning Eyes of Evil", but it's the title-track which captures the imagination most vividly, with a cool melodic layout and a more overt speed metal flair. Welcome also "Tied up in Bones" and "Sonars of War", calm patiently-woven epic mid-pacers. The band founder Raphael Ferreira aka Oldskull is taking part in over twenty acts around the Brazilian underground... a true metal maniac.

Negro Metal da Morte Full-length, 2016
Metal Baphomet Full-length, 2021

Official Site

PRIMITIVE (SPAIN)

These Spaniards specialize in ordinary thrashcore of the modern variety which is dynamic and edgy with a few convincing thrashy breaks, but lacks a character emulating the Madball approach quite a bit including in the forceful shouty vocal department.

Instintos Primarios EP, 2011

PRIMITIVO (CHILE)

Heavy groovy post-thrash with a dry mechanical sound and throaty death metal vocals; at their best the guys recall early Meshuggah, but those more dynamic moments are buried in the rest which is quite repetitive consisting mostly of abrasive cold mid-paced riffs.

Primitivo Full-length, 2008

Official Site

PRIMORDIAL IDOL (BRAZIL)

These Brazilians pull out vicious retro black/thrash ala Bulldozer spiced with the heavy epic mid-period Bathory break ("Azoth"); don't rely on the latter too much, though, since the tempo is fast for most of the time, except on the cool mid-paced power/thrasher "Medieval Throne". The singer is a very close soundalike to AC Wild (Bulldozer). The band members have two side projects: the atmospheric black metal outfit Goat Prayers, and the retro thrash metal formation Speed Metal Hell.

Rebellion War Demo, 2001

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PRIMORTAL AGGRESSION (USA)

Robert R.Egler is a famous figure in the metal underground, and is probably featured on the Guinness Book of records as the man who has the biggest number of one-man projects, so far closing on 18. The styles are mostly thrash, death metal and grindcore. In this particular case we have fast furious thrash/death/grind, in other words, all the genres are mixed together on an abrasive modern base, obviously done on a computer, and this is perhaps the main reason why the all songs sound too samey: fast one-dimensional noisy stuff with Egler providing high-pitched semi-shouty vocals which don't change throughout the album. Well, let's not forget that the guy has to spare himself for the other 17 acts...

Among The Dead Full-length, 2004

PRINCIPALITY OF HELL (GREECE)

The debut: authorities from the Greek underground (members of Rotting Christ, Thou Art Lord, Diabolos Rising, etc.) have joined efforts to produce this cool tribute to early Venom which is probably more proficiently executed than the music of the infamous Brits but the character and feel are pretty much the same, carefree macabre stuff thrown unpretentiously at the listener sometimes more brutal than the norm (the nod to Bathory "We Ride at Night"; the brutal black metal outrage "The 9th Seal"), sometimes with a more overt speed metal "The Witches' Coven") flair, sometimes with a more optimistic power metal ("Hellfire Legions") nuance akin to Manowar, sometimes with a gloomy doom ("The Hand of the Hangman") shadow ala Barathrum and Khold. At the end the band also pay their tribute to the Bay-Area covering Exodus' "Strike of the Beast" from the Americans' legendary debut ensuring the fun all over on this eventful frolic effort.
"Sulfur & Bane": the "principality" is here again riding on the waves of early Bathory, above all, this time stomping the atmosphere with seismic steam-rollers ("Sons of the Desert", "The Invisible Empire") where the shadow of early Celtic Frost is more than tangible; or rages hard with intense speedsters like the title-track and the prime Germanic headbanger "In the Shadows of Sodom" where shades of the mentioned in the title German legends are indeed audible. "Den of the Serpent" even jumps on the death metal wagon for a bit before the closer "The Marble Witch" brings back the morose doom feeling as a finishing touch.

Fire & Brimstone Full-Length, 2014
Sulfur & Bane Full-Length, 2016

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PRIORATO (ECUADOR)

This is moody doom stuff, still a mix of thrash and death metal of the more modern variety scoring high in the melodic sector where the guitarists leave their hearts with a few tear-rending moments, which are quite good, by the way, smelling mid-period Rotting Christ a fair bit. Still, all will more than welcome the intense thrasher near the end "Camino al Priorato" to stir their souls, but the dominant atmosphere is more on the dark melancholic side ruined by the scary serpentine black metal vocals.

Camino al Priorato Full-length, 2009

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PRIPJAT (GERMANY)

The demo: quite good classic thrash with both the German school and the Bay-Area covered. The guys play with inspiration and understanding of the genre canons bashing passionately for most of the time reaching bearable Slayer-esque extremes on the "toxic" "Toxic". But things get worse when "acid rain" comes later with the closing "Acid Rain" which thrashes wildly as a fitting epitaph to this promising entry into the European thrash metal catalogue which also boasts nice melodic leads and expressive shouty semi-clean vocals.
The full-length doesn't betray the blitzkrieg delivery from the demo also ensured by the presence of all the tracks from it here, and is another slab of raging retro thrash which is now almost exclusively a tribute to the German school, early/mid-period Kreator, above all. The band play on with plenty of speed simplifying things a bit with more laid-back crossover-laced pieces like "Snitches Get Stitches" also incorporating purer speed metal patterns ("Destruction Manifesto", the diverse title-track) at times.
"Chain Reaction" continues the "chain" from the preceding saga with a string of wild old school thrashers although the delivery by all means has its both more serious and more melodic side ("Take the Law", "The Seed") where more active rhythms alternate with more carefully executed developments, the culmination in this trend being the enjoyable epic galloper "Bowed, yet Unbroken". More surprises towards the end with the title-track, a diverse Paradox-esque speed/thrasher, and "Returnless", a mid-paced proposition relying on imposing heavy doom vibes.

Liquidators Demo, 2012
Sons of Tschernobyl Full-Length, 2014
Chain Reaction Full-length, 2018

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PRISMERIA (FRANCE)

Modern thrash/post-thrash which doesn't win too many points from the contrasting vocal styles, one harsh and deathly, the other hysterical blacky. The cool melodic tunes ("Native Spirit") incorporated will keep the listener' interest although outside those there's not much to deserve very high praise, the speedy "Life" adding both vigour and technicality to the trite proceedings, the other relative highlight being the restless jumpy closer "The Groovy Snake".

Requiem Full-Length, 2020

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PRISONER (SERBIA)

Based on the full-length, these Serbian moshers deliver brisk dynamic, old school speed/thrash assisted by cool mid-ranged clean vocals. The riffs lash around you becoming a tad more controlled on the short "Deceived" and on the shredding mid-pacer "Lifeless" which speeds up in the 2nd half, probably to match the intensity of the following "Risen from the Grave" which sets the tone for the remaining pieces among which the final "Something to Fear" is a particularly brutal thrasher with echoes of Gammacide and Morbid Saint.

The Upcoming Devastation EP, 2014
See the Scars Full-length, 2015

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PRISONER (USA)

This band was the beginning of the Jungle Rot guys who here exercise quite good semi-technical thrash in the Bay-Area mode with fast ripping rhythms: check out "Book of Lies" including the intriguing finalizing riffs. "Once Evil" is a more immediate speedster, and the closing "My Last Goodbye" is a bass-dominated mid-pacer. The singer is a passable semi-cleaner who leads the show without doing anything striking.

Skeletal Remains Demo, 1990

PRISONERS OF FAITH (USA)

Four songs of cool retro power/thrash metal with epic elements; the guys bring the desirable progressive colouring on the longer compositions ("Rise Of Aries (Gods Of War)", which is a compelling mix of slower epic and faster galloping sections). "Resistance is Useless" is a short mid-paced thrasher, and "Revenge Will Come" is officiant epic metal ala Manilla Road with not many ties to thrash, the main difference coming from the clean melodic emotional vocals. "Long Last Crusade" is epic doom/thrash/power metal clinging more towards the melodic side, but this short effort has other targets apart from the thrash metal fanbase.

Resistance is Useless EP, 2010

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PRISTINA (USA)

This new band plays a chaotic heavy mixture of thrash and death metal of the modern variety with a lot of groove present, but not in a bad way. There is a twisted technical aesthetics involved distantly recalling Morbid Angel, but everything develops on a mid-paced base with not much speed involved. Still this could be worth checking out as there are clever time-changes and crooked riffs; don't mind the singer, though: his hysterical synthesized shouts are hardly the main asset of this recording.

Boner Jams '07: The Harpooned Heart Full-length, 2007

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PRIVATE GOVERNMENT (CYPRUS)

Avantgarde progressive post-thrash with shades of both Opeth and Porcupine Tree and an operatic keyboard atmosphere permeating the whole album in a surreal magical fashion. The compositions are long, mostly in the 1st half, with numerous other influences thrown in, among which particularly good is the one of mid-period Paradise Lost ("Deliverance"). More intense ripping thrash can be heard on "Green Eyed Monster", and the rest doesn't lack dynamics as a whole since the riff-work is really cutting expanding into another extra portion of vigorous thrash on the bonus track "Road To Paradise" which is followed by the interesting jumpy cover of Michael Jackson's (R.I.P.) "They Don't Care About Us" where one of the numerous singers involved in this project ejects the man's characteristic semi-scream to a startling effect which is further amplified by the very good leads present.

Diavatirio Full-Length, 2009

PRIVATE GOVERNMENT (UAE)

Modern abrasive thrash with metalcore additives which is strictly on the melodic side the band not interested in generating too much aggression. The more elaborately executed steam-roller "Tainted with Blood" may attract more attention, also due to the expert lead guitar work, but the diehard thrashers would not spend too much time with this recording pulled back by the vociferous keyboard presence and the occasionally synthesized edge of the guitars.

Come And Take Full-Length, 2018

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PRIVATE PROPERTY (USA)

Classic power/thrash which starts promisingly with the fast Bay-Areasque "As I see Fit", but later offers trite repetitive heavy riffs, "Trashcan Man" being the soft heavy/power metal deviation where the aggressive angry vocals and the brutal male choruses are quite misplaced.

Private Property EP, 1993

PRIVILEGE OF APPROVAL (AUSTRIA)

These Austrians pull out vintage thrash/melo-death metal of the Swedish school. The sound of At the Gates and early In Flames is brought to the fore for the umpteenth time in the past few years, this band bringing nothing new to the field playing competently and all, spicing things up with nice orchestral intro and outro.

Privilege of Approval EP, 2010

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PRIZTIK (ARGENTINA)

This is modern thrash/crossover of the less common heavy type with post-thrasherisms present and less frequent adherences to more intense classic-sounding thrash ("Frenar al Ladron", "Odio") which should have been covered more since then the album is very close to taking off. The rest is much less striking the band settling for one-dimensional heaviness seldom bothering to alter the tedious prevalent formula.

Numero Cero Full-Length, 2010

PRO-PAIN (USA)

This very popular and prolific band started their career with three outstanding hardcore-laced albums, which remain their finest hour so far. With their self-titled release they moved more towards the thrash metal spectre by retaining their hardcore base. There is no much variety between albums: energetic thrash/hardcore with heavy groovy sections is what these guys offer, but it works well as their music has its appeal to metal fans of various tastes.

"Absolute Power" bears no surprises offering full of energy and catchiness thrashcore with a few inevitable excursions into slower groovy waters, plus one shocking exercise in brutal extreme death metal (parts of "Hate Coalition"), and one nice crossover reminder of their early days ("Divided We Stand") placed at the end.

"Straight to the Dome" bears no surprises for the band's fans thrashing/crossovering in the expected frolic fashion all the guys in good shape not betraying their staple approach for a split second, aptly mixing fast and slower tracks "Pure Hatred" being a prime sing-along hymn in the best tradition of their early catalogue, with the brisk explosive "Bloodlust For War" another highlight (check out the short melodic licks on this one). "A Good Day to Die" introduces pleasant clean vocals, and could pass for another "radio hit" due to its more laid-back nature. The experimental side of the band doesn't spring up too often throughout their career, but the last two compositions have this aplenty: "Zugabe!" which is an infectious melodic crossover cut, instantly memorable; and the jolly interpretation of the Beastie Boys' "Egg Raid On Mojo", a punk evergreen sustained in the same optimistic carefree spirit.
"The Final Revolution" carries on with the Pro-Pain thrashcore saga which is mildly entertaining here without reaching any musical highlights. There aren't many speedy cuts to be encountered, and the overall approach is friendly mid-tempo effortlessly passing through the listener's ears without leaving any lasting impression. This is the good old Pro-Pain the way we used to know them from times immemorial...
"Voice of Rebellion" is the expected from the band tour of the modern hardcore-tinged thrash spectre with a few not very predictable touches (the more melodic developments on "No Fly Zone") served which is generally a fairly restrained offering for the guys' standards. Customarily, there are quite a few fast-paced temptations like the raging opening title-track and the short crossover hymns "Take It To The Grave" and "Enraged", and certainly the jumpy volatile "Bella Morter" and the headbangers' ball winner "Dnr (Do Not Resuscitate)".

Foul Taste of Freedom Full-length, 1992
The Truth Hurts Full-length, 1994
Contents Under Pressure Full-length, 1996
Pro Pain Full-length, 1998
Act of God Full-length, 1999
Round 6 Full-length, 2000
Shreds of Dignity Full-length, 2002
Run For Cover Full-length, 2003
Fistful of Hate Full-length, 2004
Prophets of Doom Full-length, 2005
Age of Tyranny - The Tenth Crusade Full-length, 2007
Absolute Power Full-length, 2010
Straight to the Dome Full-length, 2012
The Final Revolution Full-Length, 2013
Voice of Rebellion Full-Length, 2015

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PROAGRESSION (ARGENTINA)

After the beautiful acoustic intro, which is an obvious nod to Metallica's "To Live is to Die", these Argentines overwhelm us with pretty good technical old school thrash metal which again stays close to late-80's Metallica with more speedy shades ala Paradox ("Enemigo Del Destino") thrown in. The progressive deviations are a bit longer here, but when the guys thrash, they take no prisoners: "Ciega Realidad". The singer is a more aggressive less melodic version of James Hetfield with again a touch of Charly Steinhauer (Paradox).
The full-length fulfills most of the promises and the band waste no time proving themselves with steel sharp riffs flying from all sides hitting the listener straight in the head with 10-ton hammers like "Mi Obsesi'f3n" and "Resurgir" which are also major headbangers all over graced by a couple of nice melodic leads. "Instinto Primitivo Original" jumps on the more technical wagon also galloping all the way to the next "Justicia Divina", a short more direct ripper. "Dimensi'f3n Err'f3nea (PDP)" elaborates the landscape with somewhat lengthy balladic lead-driven passages, but "En el Final" which is indeed "the final", compensates with wilder less restrained riffs reminiscent of Paradox's "Electrify".

Ciega Realidad Demo, 2011
El Castigo De Quien Busca La Verdad Full-Length, 2015

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PROBOSCIS (SWEDEN)

This is the unofficial sequel to the pretty cool progressive power/deathsters Afflicted, the album reviewed here produced by the unanimously elected Swedish metal guru Dan Swano (Edge of Sanity, Godsend, Demiurg, etc.). Based on the full-length, this extension indulge in raucous albeit unorthodox and quite appealing dynamic modern spastic thrashcore which comes served with a quirky trippy vibe on cuts like the short twisted "Losing Streak" and the weird devious "Devaluate", the very shouty angry vocalist taking a more tamed course at times, largely reciting on a few mellower extrapolations. "Now and Then" steam-rolls its way with echoes of the one-album wonder Blood from the Soul, the outlandish bass-driven bounces on "Sulaco" going towards the all-instrumental eccentricities, whereas the nervy psychotic jolts of "Hollywood Ending" come close to the headbanging parametres, creating dizzying reckless atmosphere. "Ashes" is a bizarre fusion-esque extravaganza with echoes of Carbonized and Verwaint, and "Living Life" is a wild shredder with stylish funky insertions, a jarring schizoid experience which alone justifies this album's presence in the pantheon of the eclectic and the offbeat.
The demo is another wild eccentric fare, think Death Angel's "Act III" brought to its thrashing extreme, with discordant but arresting rifforamas flowing out of "S.W.N.L.", the much more acceptable clean albeit stoned not very passionate vocals leaving a largely positive impression. "The Instinct" is a more overt thrashy listen with hectic abruptly shifting tempo-changes keeping the listener on his/her toes the entire time, the expressive burpy bass making holes in the walls and the floor with ease, "Fall In Line" falling in line with a less intense progressive flair, a psychedelic frolicker with a strong funky veneer, thrash coming back in the second half to turn the tables towards Mordred's "In This Life" for a less pretentious, less aggressive joyride.

Demo Demo, 1992
MCD EP, 1994
Stalemate Full-length, 1998

PROCEED (SWITZERLAND)

Based on the demo, this act pull out heavy groovy post-thrash which clings between mid-period Prong and Grope, but expect weird speedy accumulations on the quirky title-track, and bouts of stylish screamy leads. "Deepest Pain" is a creepy doom-laden sleeper without any embellishments, and "Intimations of Immortallity" is a great more dynamic twisted technicaller that would satisfy lovers of modern tech-thrash formations like Aleister and Tefilla. The not very attached semi-shouty hardcore vocalist creates more of a noise than actually singing, but the abrasive character of the music hardly requires any more proficient performers behind the mike.

Bike Rider Full-length, 1989
Birdman Demo, 1993

PROCESS (CANADA)

The "Evolution" demo: musicians from more eminent acts (Disciples of Power, Tenet, etc.) have tried their hands here on music for the first time. This is cool classic thrash/death with precise semi-technical guitar work and passable semi-shouty/semi-death metal vocals. The tempos often change within the song-structures except on the final "Last Minute Saviour" which is a heavy stomper with the most stylish, technical guitars on the demo. The sound quality isn't bad boosting the drums and the bass more than usual.
The full-length is an admirable attempt at a reunion stint naturally comprising all the tracks from the last demo of the same title. The overall style is potent assured technical/semi-technical thrash/death which is largely reflected in short ripping cuts without too much ado although "Light Blood Breathe" is a consummate technical shredder with curious serene respites, and "Last Minute Saviour" is an interesting mid-paced chopper with quirky stop-and-go rhythms. "Phantom" is a longer quasi-modern proto-groover with sudden death metal outbreaks, contrasting with the more frivolously-executed crossover-prone, but still unpredictable and outlandish pieces "Liquorice Eater" and "Subcutaneous", the gruff shouty death metal vocals partly ruining the festive party atmosphere on those.

Evolution Demo, 1993
Structural Fatigue Demo, 1994
Structural Fatigue Full-length, 2018

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PROCESS (DENMARK)

Based on the debut demo, this band plays melodic power/thrash metal of the dreamy semi-doom type with catchy melodic, slow to mid-paced, riffs and deep clean mid-ranged vocals. There are certain shades of gothic as well, and on the slower moments the guys may remind you of mid-period Katatonia.

Lost in Reverie Demo, 1999
P=g Mo Th=n Demo, 2003

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PROCESS REVEALED (USA)

Four tracks of laid-back thrash/crossover coming close to Broken Bones ("Thank You") on the more dynamic moments.

Everybody Is On My Side EP, 1988

PROCESSOR (GERMANY)

Based on the debut: these folks, who were previously known as Godmachine, deliver modern speed/thrash with interesting semi-technical tendencies ("Vaporized Space") the latter also present on the less dynamic material (the groovy twister "Fodder for the Grinder"). The hysterical blacky vocals aren't exactly a very positive appendage to the good music which also swings towards more expansive progressive ala Devin Townsend on "Phyresis". Still, the more immediate, speedier material ("Pest Generator") is by all means the more attractive side with "Pest Generator" and the more brutal death-laced "Phosphor" leading the show there.
"Shapeshifter" retains the delivery from the preceding opus, the guys adding the odd more laid-back epic number ("Black Mold"), but largely moshing on full-throttle for most of the time, combining the two currents on "Living in a Casket" before "Hivemother (Swarm of Ishtar)" attempts something less thrashy and more complex, the sincere speed metal joy on "Damage Fuck" going into the other, more direct direction.

Heliopolis Full-length, 2018
Shapeshifter Full-length, 2020

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PROCESSOR (RUSSIA)

This album begins with a sprawling, mostly instrumental, progressive composition ("Hunter (Are You Ready To Die)") which will keep you guessing what may happen later since it gathers quite a few influences ranging from industrial to doom. The next "Wolfmen. Dancing With Death" safely settles for modern technical thrash ala mid-period Meshuggah, but your mind will get quite confused after you hear the virtuoso piece "Concertj Non Grosso", a brilliant power/speed metal instrumental ala early Marty Friedman (remember Hawaii). Variety will apparently be the name of the game here, and the heavy groovy "Harmony Of Light And Chorus Of Darkness" should come as no surprise also carrying an intriguing abstract edge ala Treponem Pal; quiet balladic interludes will one encounter there, too, plus a furious death metal section. "Guernica (Dilogy). "Tribute To P. Picasso. Part 1. Spanish Pictures. Part 2. Death From The Sky" comes after (these guys definitely find it hard reaching the length of their song-titles with the lyrics) bringing a combination of fabulous guitar shred and heavy abrasive guitars with an industrial shade. "Chaos. Decay Powers Envoy" is a nice semi-ballad ruined, of course, by the aggressive death metal vocals although the guitar work compensates for that. "Prising Alarm Hour!" is angry modern thrash in mid-pace, followed by the very original cover of Slayer's "South of Heaven", a highly individual take on this immortal hit, here turned into a puzzling dry mechanical technical affair with sudden tempo changes and very interesting offbeat arrangements; a really unique piece. Despite its diverse, and at first listen incoherent, nature, this album will definitely compel you to give it several listens simply because its charm lies in the unexpected musical decisions and the contrasting, but strangely appealing, mixtures which can't possibly be fully grasped at first, and even after second, listen.

Thanatophobia Compilation, 2002

PROCRUSTES (GREECE)

Blitzkrieg old school thrash, also throwing power and speed metal into the cauldron, save for the vocal department where we have a hardcore shouter and a fairly capable cleaner throat, both sides interlacing throughout, making energetic roller-coasters like "Crack in the Wall" and the proto-death violator "Keep Last Bullet" diverse acceptable propositions. A few unmitigated grooves sneak on "Monster Within", but there's no dange rof thsi slab to turn into a tribute to the 90's with merry speedsters ("Hellrider") and heavy power/thrash hybriders ("Dead New World") making the rounds in a more convincing fashion.

Procrustes Full-Length, 2024

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PROCYON (PORTUGAL)

An EP typical for the time consisting of 90's post-thrash, but nicely staying away from the groove for most of the time also adding the odd classic riff; the music is mid-paced with a jolly, almost punk at times, vibe supported by hoarse semi-clean vocals.
The "Last Seeds of Mind" demo is a purely classic offering, but the awful sound quality takes away from the guitars' bite, which come as too messy, especially on the faster parts. The compositions are lengthy, supported by a strong bass-bottom and clever song-structures, which aptly mix fast and slow passages. The approach has its shades of the Bay-Area, late-80's Metallica in particular, except for the isolated moments when it branches out into pure Germanic speed/thrash ("Asking More"). "Deadly Sin" at the end is a nice crossover reliever winking at Iron Maiden with a motif from "Charlotte the Harlot" included as a finishing touch. The singer isn't too bad, but his rough semi-clean timbre needs some refinement, and a tad of emotion.

Obsessed By Time Demo 1987
Songs For Lunatics - Promo Live Tape Demo 1988
Last Seeds of Mind Demo 1990
Read My Lips EP, 1994

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PROD (CROATIA)

Modern thrash/death, mostly mid-paced and heavy, descending to gothic/black metal territories at times ("Spirals"), at times elaborating on the balladic side (the beginning of "Hera") . When the music picks more speed, it sounds quite cool ("Perforation of Entity") coming even with compelling chaotic semi-technical passages, but these moments are, unfortunately, rare.

A Dance for the Guns Demo, 2004

Official Site

PRODIGY (USA)

This band's short career crosses paths with Iced Earth as two of their members had played in the more renowned band. This is a strong progressive power/thrash metal album which draws comparisons to Nevermore and Eidolon. The songs are long (some of them go over the 9-min range), but never sound boring even for a split second with dark, almost gothic atmosphere and nice crunchy, heavy riffs. The tempo is mid-paced with a very few exceptions. The softer moments ("Paradise (on the Edge of the World)"), which are not too many, will bring you back to the time of Queensryche's debut mini-album. The man who steals the show here, is Kent Smedley: the guitarist, who is truly one of the finest to ever grace the metal scene, and one of the least known. His performance is simply amazing: melodic, fast, but at the same time very technical leads decorate every track, and although on the longer ones he's been given quite a room to display his talent, you will hardly complain, since his pyrotechnics are just breathtaking. It's too bad this man never recorded anything else; could have been a very valuable addition to the Shrapnel catalogue, and certainly one of its most prominent representatives. His brother Brent Smedley, the bass player here, had a short spell with Iced Earth in the mid-90's. The other person worth mentioning, is William Wren: a great singer whose passionate powerful clean vocals will haunt you long after this album is over; he later joined the progressive power metallers Mystic Force.

As Darkness Reigns Full-length, 1993

PRODUCT OF HATE (USA)

Groovy aggro-thrash which is very lively and dynamic quite close to Pro-Pain even thrashing much harder ("Start The March") on occasion. "Your Last Chance" is another thrashing "bomb", but those surprises diminish later on the guys loosening up again towards the end with the blitzkrieg headbanger "Eyes Of The Damned" and the ripping closer "Unholy Manipulator". This is a nice deviation from the trite 90's formulas without completely losing the angry spirit of the post-thrash movement.

The Unholy Manipulator EP, 2010

Official Site

PRODUCT OF WASTE (USA)

Thrashcore of the old type, quite fast and intense similar to early Prong and The Accused even touching Cryptic Slaughter on the more extreme moments. The slower breaks come in the form of Pro-Pain-esque semi-hardcore/semi-groove implements which sometimes are accompanied by cleaner rappy vocals as opposed to the typical old school hardcore main vocals ala Qualcast "Koffee" Mutilator (Lawnmower Deth).

You Won't Take Me Alive Full-Length, 2008

PROFANATOR (MEXICO)

An album which richly deserves to take "the best metal debut" award for 2005: first-rate 80's thrash along the lines of Destruction, with touches of Slayer and genuine technical passages. This is good energetic music, effortlessly combining more direct, headbanging riffs with more intriguing, technical ones. The tracks are generally long-ish (in the 5-6min range), but are so diverse and easily flowing that you wouldn't find a dull moment there. "666 Days To Follow" sums all that was so great about the 80's thrash scene in its 9-min: it begins in a heavier semi-balladic manner speeding up gradually before it turns into a full-fledged up-tempo thrasher (the music on the whole album very seldom sounds too aggressive), ending in the same quiet way it started. This is a more than a promising start for the band who are hopefully preparing something new in the near future.

"Deathplagued" would be another no-brainer for the retro thrash metal fans: "Faith no More" shoots you straight into a Slayer, Sepultura, Devastation territory where you'll stay for the whole time nailed by a bullet after bullet which this time are shorter and more direct without any technical gimmicks. The singer has chosen a higher more vicious pitch (could be another one?) close to Marcelo "Flegias" Santos (Necrodeath) compared to the almost death-y vocal tone applied on the debut. As a result this offering is also more one-dimensional offering speed, speed and... speed again. No complaints at all with merciless speed/thrashers like "Narcolatry" around which will also remind you of Paradox and Angel Dust. A good faithful cover of Slayer's "Epidemic" awaits you as a final touch.
"Mvtter Vicivm" is a wild affair now epitomizing the blitzkrieg Slayer style from "Reign in Blood" all the way leaving no room for any more original interpretations. Still, the dedication to speed is admirable and there should be few unhappy with this constant downpour of steely sharp riffs which only get a slightly more stylish colouring on "Necrocracy". The galloping machine-gun riffs on "She-Wolves Kalashnikov" will make you jump around in no time whereas the closer "Life Is Not" will engage you in a more serious listen trying to break the mould with a portion of more thought-out decisions reaching the 7-min mark not without the help of the stretching slower passage in the end. Fans of the more complex debut will have to leave their hopes aside for the moment: the guys are following their bashing hearts at this stage... bash on!
"Fallen" is a track-by-track alternation between direct immediate bashers and more serious, near-progressive cuts some of the latter ("Voice Of Disorder") frankly bordering on unrestrained death metal, others notching up the atmosphere ("Night Fever"), the culmination of all trends and nuances reached on the encompassing closing title-track, a conglomerate of wild shredding and complex arrangements the latter aspect more widely covered but retouching the intensity which the shorter material has in spades.

Libido Clerico Full-length, 2005
Deathplagued Full-length, 2009
Mvtter Vicivm Full-Length, 2015
Fallen Full-Length, 2018

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PROFANCER (SINGAPORE)

These Singaporeans are obviously inspired by the early Brazilian thrash metal scene: Sarcofago, Sepultura, Volcano, etc. The music here is more amateurish, mostly mid-tempo, with faster outbursts here and there. This is one-dimensional and not very appealing stuff despite attempts at originality: the songs close with leads which start out of nowhere and last for a few seconds, but offer nothing too technical.

Rest Without Peace Demo, 1990

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PROFANE (USA)

Based on the debut, this act pull out modern groovy post-thrash which is rehashed repetitive riffs for most of the time the angry Phil Anselmo-sque vocals another generic additive to the listless musical landscape. The cool melodic leads on "Down 4 All" and the fast energetic riffs on "Cross the Line" bring some variety to the rigid template, but moments of the kind a true rarity if we also exclude the doom/stoner variations on the optimistic roller-coaster "The Fool Is You".

1001 Proof Full-Length, 1997
The Spoils of Burglaratic Victory Full-length, 2000
Say What You Will Full-length, 2005

Official Site

PROFANER (CANADA)

This is typical modern thrash metal with classic references which at times aims at the progressive metal crowd, and occasionally succeeds to pull out more intriguing elaborate structures ruined by the pedestrian guitar work and the very brutal low-tuned vocals which are intercepted by even worse high-pitched shrieks. Still, the closer "Signs of Nine" is an ambitious progressive composition closing on 10.5-min to provide cool varied thrash in mid to up-tempo with the leads being the highlight.

Signs of Nine Full-length, 2010

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PROFECIA (ECUADOR)

Based on "VII Veces VII": cool retro speed/thrash with black metal vocals; the music isn't all-out speed all the time, but contains slower, almost doom-like tracks ("Lama. Trompeta", "Los Mil Aaos de Soledad", which also has a nice balladic ending). Still, when the guys speed up they produce really worthy pieces: "El Ocaso de los 7 Tiempos", "7 Times 7". The production qualities aren't very good, having left the guitar sound too fuzzy, and the bass is put too much upfront on some songs. These guys seem to be obsessed with number 7: check the song-titles (and the album title).
"Oro Negro" is another dynamic affair the band thrashing with anger and a very sharp guitar edge which becomes a bit noisy at times. The headbanging fun is guaranteed on most numbers, but it's the smashing rippers like "Infierno Eterno" and "Contaminacion Mundana/Descontaminacion Humana" which take away all the praise although the longer atmospheric "Catacumbas" isn't bad at all despite the relative lack of any up-tempo moments.

Anunciantes del Final Full-length, 1997
...Hacia el Armagedon Full-length, 1999
VII Veces VII Full-length, 2003
Codigo Marfil EP, 2012
Oro Negro Full-length, 2014

Official Site

PROFECIA (MEXICO)

This is roughly produced thrash/death which closely follows Merciless' debut and Morbid Saint, the main difference coming from the stylish melodic leads. The guys lash with passion without forgetting about the more moderate breaks. "City Of Lost Souls " is a filling dropper: an explosive bashing piece with a few clever, more technical insertions. "Blind Existence" is a larger-than-life diverser featuring brutal death and modern groove among the fiery thrashy barrage which isn't very aptly supported by throaty semi-shouty hardcore vocals.

Blind Existence Demo, 1993

Official Site

PROFET (GERMANY)

Based on "Torture of Flesh", this act serve abrasive modern-ish thrash with not many more brutal death metal insertions. There's nothing "profetic" about the music, it's right as rain the more interesting moments coming from the vocal shifts between a growling deathster and a cleaner deeper baritone the latter delivering several admirable choral lines (check out "Disciple of God"). The hard thrashing numbers, which are not too many, are obstructed by the not very clear sound quality which, however, can't stand on the way on the excellent screamy leads. The change of pace from one song to another ensures a more careful listen at times with everything coming together on the encompassing closer "Ice Age", an ambitious epic thrasher ala Bifrost.
"Into the Void" is sustained in a less brutal thrash metal vein, but make way, please, for the galloping epicer "The Forgotten", and the wayward retro speed/thrasher "Spell Huntress". "Requiem" settles for a more progressive, mellower layout, and "The Void" is a cool atmospheric semi-ballad. The thrash/crossover immediacy of "Violence" is also welcome towards the end, assisting the closing speed/thrashing "Humanity Must Die" with equal panache and verve.

Black Widow Full-Length, 2012
Torture of Flesh Full-Length, 2015
Into The Void Full-length, 2022

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PROFETAS (HONDURAS)

Ordinary not very imaginative modern post-thrash which goes through the motions with repetitive tedious riffage the latter providing the background for the best moments which are several balladic deviations. The guitars have a noisy abrasive edge and to listen to it on the longer numbers near the end would be a not very gratifying task. The leads deliver, though, producing nice melodies again mostly on those longer cuts (check out the mid-section on "Tierra" where the guy literally leaves his soul there). The vocals merge with the not very exciting musical delivery being semi-death metal, but mid-ranged with a subdued nasal tone.

Almas en Silencio Full-Length, 2008

Official Site

PROFETIKA (BRAZIL)

The very familiar modern thrash formula is served here with a more classic twist which even reaches death metal dimensions on "Ele Veio Para Roubar & Matar E Destruir". Energetic Oriental galloping moments await you on "O Inicio Do Final", but things get a bit messy elsewhere with quite a bit of groove involved, too, as well as more moderate melodic guitars on occasion. Don't expect any surprises in the vocal department, either: the guy is the staple angry semi-shouter.

Serial Killer EP, 2010

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PROFLIGATE (ITALY)

Cool speed/thrash mixing the 90's trends in the style with the heavier approach of the 80's American scene; the singer is a nice asset with his clean emotional mid-ranged voice, and the guitars bite whenever involved in a more intense shredding, since "Sailing in Silence" is a semi-ballad, and the last "Dreamspace" is a peaceful semi-acoustic instrumental.

Nothing But Silence Demo, 2009

PROGENIES (CANADA)

Based on the EP, this band play modern thrash/death with progressive overtones ala Opeth. The music is not a "stranger" to enchanting melodies some of them with an Oriental flavour ("At the Mercy of God"), and the "beauty and the beast" vocal duel is well achieved recalling the one from the early Theatre of Tragedy efforts. The tempos are not that speedy, and at some stage the listener may just lose concentration bemused by this melodic mid-paced "oasis" which often borders on the balladic/semi-balladic ("Wrath"). The guys were previously known as Eyeless with one demo released in 2010.

Beings of Flesh Full-length, 2014
Eponym EP, 2016

Official Site

PROGENY (ITALY)

A heavy groovy blend of thrash and death metal which at times picks up respectable speed and sounds quite appealing. The problem is that the guys do not forget about the groove, and it pops up quite a bit on those three tracks. The other good side of this single is that the band are not strangers to more interesting guitar work which has an intriguing surreal edge, not too far from the Voivod 90's period with Eric Forrest, or the Polish Myopia. If we add some stylish atmospheric bass interludes ("Black Sun of the Humanity"), then you know you should check this out, at least out of curiosity. With more concentration on this side, these guys would have no problems sticking out of the metal crowd, especially in their homeland where there are very few bands right now who offer similar music.

Insanity Single, 2007

Official Site

PROGERIA (GERMANY)

Based on the "Mirror of Pain" demo, this act serve quite cool heavy power/thrash with a hefty progressive edge recalling the exploits of the Swedish representatives (Morgana Lefay, Hexenhaus, Pathos, etc.) from around the same time. The infectious galloping rhythms of the opening "Into the Dark" will capture anyone's imagination, and although the frequent deathly grunts that intercept the very good main clean vocals can be a debatable gimmick, few would complain with the music which follows a not very flinching mid-pace mid-way which inevitably starts smelling doom at some stage in a manner again reminiscent of the mentioned acts. The more boisterous riffs on "Confusion" smell more overt thrashy shenanigans, and the mosh stirred is indeed admirable also kept alive by "Misery", another active shredder after which the guys change their minds and start providing more technical walkabouts with "Mindchange", a clever dynamic proposition which grows into the excellent rifforama "Never Trust", a hard-hitting thrasher with echoes of Mordred's "Fool's Game". "Childhood" carries on in the same direction, a more immediate proto-headbanger before "Possessed" epitomizes a more officious, march-like stride carved by sudden speedy outbursts, a very nice contrasting symbiosis with overt technical pretensions. This is a really impressive entry from the late-90's roster that should be mentioned next to more renowned old school resurrection campaign contributors.

Progeria Demo, 1998
Mirror of Pain Demo, 1999

PROJECT 46 (BRAZIL)

Modern groovy post-thrash which develops in a predictable sleepy tempo until it reaches the final "Wake Up" which will really do a good job to wake you up offering dynamic sharp riffage in up-tempo smelling the Swedish school in a good way; that same track excels in the lead department as well, and a lead tune from there will remind you of the Twisted Sister ballad "I Believe in You", intentionally or not; watch out for the fine peaceful acoustic exit, too.

If You Want Your Survival Sign, Wake Up Full-length, EP
Doa a Quem Doer Full-length, 2011
Que Seja Feita a Nossa Vontade Full-length, 2014

Official Site

PROJECT-BRAIN-STORM (GERMANY)

Based on the debut, this band play modern/classic thrash mixed with more traditional heavy metal. The final result is more on the melodic side with the presence of a few acoustic ballads, but also some up-tempo thrashers ("Abandon") thrown in.

"Pain" is a better offering now staying closer to the classic trends the band thrashing with more technicality as evident from the opening shredder "Nightmare". The title-track right after is a direct short basher, but "Media Terror" is already a more progressive-sounding mid-pacer. In the second half things get mixed with faster and slower numbers taking turns the excellent semi-balladic "Buried Forever" being the highlight with its more serious musicianship; the razor-sharp headbanger "Free Again" a very close second. The closing "Dream Of A Dream" is the pullback, a mild dramatic ballad the indifferent singer marring it a bit with his not very attached delivery.

Truth Lies In The Eye Of The Beholder Full-length, 1999
Pain Full-length, 2007

Official Site

PROJECT: FAILING FLESH (USA)

This band boasts the presence of Eric Forrest, the man who revived the Voivod career in the mid 90's. The base for the music is modern thrash/death metal, industrially tinged with many unusual tunes (violin solos, etc.), tempo changes and crazy song-structures; quite unconventional, and might pull back the more level-headed fans. The last track will be a delight to everyone, though: a magnificent cover of Venom's "Warhead". "The Conjoined" follows the same path featuring the same frenetic non-standard mixture heard on the debut.
Eric Forrest alternates between E-Force and this act, and here comes "Count Back From Ten" after a 3-year break. The mixture is predictably wild featuring industrial, thrash, death, cyber post-black, and a bit of doom metal. Purer full-blooded thrashers ("Lose Lose Situation") aren't a very common phenomenon; neither are appropriate well-crafted cover versions ("Irrelevant Thoughts", an excellent take on the Prong creeping post-thrasher from "Prove You Wrong"). The Prong cover influences the very cool minimalistic post-apocalyptic number "Patient Zero" where mid-90's Voivod-ish weirdness sneaks in, too. But after that the album returns to the overdone, and not very impressive, concoction of styles on a heavy industrial base topped by the indifferent robotic vocals of Forrest. Extreme metal blends are not a rarity nowadays, and this effort is by no means the worst of the lot, but when delivering in a more homogenous focused manner (check out E-Force), Forrest is well more appealing.

A Beautiful Sickness Full-length, 2003
The Conjoined Full-length, 2007
Count Back From Ten Full-length, 2010

Official Site

PROJECT:ROENWOLFE (GERMANY)

Excellent old school power/thrash with all the right ingredients to be a winner on all levels; the delivery recalls the early Iced Earth exploits, and the fast-paced beginning sets the tone for what follows although tracks like the volcanic pounder "Broken Drum" and the brooding semi-doomster "My Dark Passenger" reveal another, no less attractive, side of the band. The album has its slower aspect which is placed in the middle, but comes "Bad Blood" and all heads will be exhausted banging due to its mighty fast riffs. Later on the songs become longer again, but the aggressive guitars stay to thrash even the biggest skeptics with "The Trader of Pain" and the eventful progressive closer "Universal Mind". The singer is simply brilliant with some of the most convincing performances encountered lately: a strong passionate clean timbre with a lot of emotion and drama. This is one of the best sum-ups of the 80's American scene in recent years, a work proudly standing right beside the last Attacker and Helstar efforts.
"Edge of Saturn" is another commendable achievement, and although it's mostly sustained in a hard-hitting mid-paced fashion, one shouldn't have problems savouring the dramatic semi-balladisms of "Promethium", or the progressive Orientalism of the encompassing title-track. The quirky doom shorter "Starbound Butcher of My Dreams" is another interesting occurrence, the final "Aeternum Vale" a slightly overlong 9-min saga of the not very exciting power metal mould.
The self-titled is a sure-handed slab of the good old power/thrash, but “Honor the Line” is already an intricate shredder with hard ripping riffs; and “Kyramid” is a cool soothing ballad. Raise the horns sky-high on “Pre-Existential Crisis”, a nice bouncy headbanger; and on “SaturnusAugmentum”, a moshing parade with entangled dramatic accumulations. “Pearls Before Swine” is an enjoyable progressive saga, a 9.5-min spin-around of fast lashing rhythms, heavy stopovers, and a couple of complex whirlpools.

Neverwhere Dreamscape Full-Length, 2013
Edge of Saturn Full-length, 2021
Project: Roenwolfe Full-length, 2023

Official Site

PROJECT GORE (GERMANY)

This is a cool project which combines thrash with dark power metal overtones, the resultant symbiosis, the variegated fireworks offered on "Lives of Scorn" very nicely capturing the prevalent mood here. "Screaming in Pain" treads more epic waters for a bit, but there's enough energy on it to ensure its place here, the cool clean mid-ranged vocals staying the course throughout without trying anything adventurous. "Here to Win" is an excellent technical speedster, a hectic not very predictable offering, "Kingdom of Desire" powering through with heavy seismic riffs, before "Utopia" closes the proceedings with subversive balladic connotations.

Lives of Scorn Demo, 1992

Official Site

PROJECT FRIGHT (USA)

Three enthusiasts from Lebanon... but in Illinois, USA, dedicate an entire album to the horror film genre, the musical accompaniment by all means worth hearing as well being quite competently-executed classic thrash the guys tearing the aether with combustible headbangers like "Government Sin" and the opening instrumental "Scared Stupid". However, these two cuts don't exactly set the tone for what follows since the band are also fond of the heavier, more atmospheric ("Tales from the Mist", "The Thing") side of things which give this recording an official, more academic flair. The ripping headachers ("Dead Reckoning", "Angela's Party") keep coming, but this is a varied package with more nuances covered, the high-strung shouty/screechy vocals preserving the drama throughout.

A Heavy Metal Study of All Things Supernatural Full-length, 2019

Official Site

PROJECT NECROBIOS (SERBIA)

Two musicians are behind this project which is based around the bashing old school idea as the one flagged around by Slayer and Morbid Saint, above all, the guys marching remorselessly with wild vicious cuts ("Kill Your Idol", the proto-death madness "Necrobios"), but there's also a darker more laid-back side displayed in the form of the dark atmospheric "Awaiting to Rise" and the doom brooder "Mummified". "Strangled" is a thumping dramatic mid-pacer, and "Vodka in the Morning" is a cool more technical proposition. The vocalist is a gruff subdued death metal-ish throat, perfectly suiting the closing death-laced rager "Lord Mortevivus".

Illuminates of Thanateros Full-length, 2021

Official Site

PROJECT PAIN (HOLLAND)

The EP: this Dutch act provides cool classic thrash in the vein of mid-80's Kreator with razor-sharp guitars and vicious Mille-like vocals. The approach is a bit more controlled here resulting in a few more clever, more moderate ("Embrace Death") pieces where the shadow of Destruction can also be felt.
The full-length debut contains all the tracks from the EP, and the rest assist the main body well for the production of this no-brainer of retro thrash that gains a lot from the expert lead guitar work which is both melodic and technical. The guys thrash forward with lashing razor-sharp riffs and the coming out of nowhere leads supplement them very well giving the album a characteristic face. After the opening blitzkrieg trio the band try something more technical with the excellent "I Have Sinned", but the next "Thrashopolis" is the definitive headbanger of the new millennium which will literally split you apart. Technical all-instrumental exuberance is what comes after with the short puzzler "Canister", but then the "carnage" never stops with the final string of short direct thrashers which will remind of Exumer's debut with their speed metal leanings which also stay around for the closing ultra-smasher "Silent But Deadly": thrash till "deadly"! The singer is now a bit lower-pitched and not as expressive sticking to subdued semi-declamatory antics not far removed from the more recent ones used by Mem Von Stein (Exumer, etc.) on the Sun Descends works and on the new Exumer effort.

"Thrashed to Kill": the formidable album-title is already a warning, and the music more than justifies it: this is razor-sharp thrash which shows no mercy despite the inclusion of several more moderate tracks ("Necrophiliac"). It's short bursting speedsters like "Zero Tolerance" and "Flatline Invasion" which will make the thrash metal fan's day, and this is what he/she will come across till the end including less bridled blasting deathisms on the closing "Taken by Force" which isn't an Agent Steel cover. The sound quality is crystal-clear making the guitars click and clock all around, and the lead guitar work is admirable throughout (check out the aforementioned "Taken by Force" again).
"Brothers in Blood" remains faithful to the band's chosen stance as exemplified by earlier recordings, and cuts like "Final March" will make the moshers very happy this particular one bordering on death metal also serving both cool semi-technical and infectious melodic hooks. The rest of the material offers more direct entertainment the album full of bullets like "Eternal Flames" and the bursting speed metal classic "Decay".
"Faster Disaster" changes no direction, the band moshing with passion for most of the time, the more measured epic flair exuded by "Mean Metal Machine" canceled outright by the bursting urgency of "Army from Hell" and "Submerged", the headbanging fiesta sustained later by the vehement title-track and brief breezer "Dead Inside", the choppy semi-intricate lustre of the closing "Die in Peace" suggesting at more engaging tools of expression.

Hatred EP, 2011
I Have Sinned Full-length, 2012
Thrashed to Kill Full-Length, 2015
Brothers in Blood Full-length, 2018
Faster Disaster Full-length, 2022

Official Site

PROJECT VANDAL (SLOVAKIA)

These guys play thrash/crossover, energetic and optimistic, with cool not very hard riffage, and semi-clean/semi-shouted vocals. Lawnmower Deth are a very close soundalike as well as Excel and C.I.A. The music jumps to other styles occasionally acquiring speed/thrashy ("Open Your Eyes") or punk ("This Is Hate") tendencies.

Bullseye!!! Full-Length, 2009

PROJEKTIL (CZECH)

Two songs of speed/power metal (the "Lovci Lebek" demo) with a shade of thrash on the second track ("Kovarna") which is a fast killer with good high-pitched vocals and nice leads.

Madagaskar/Vzpomfnky Single, 1985
Lovci Lebek Single, 1989
Zpaftky do Zahrady Ticha Best of/Compilation, 1998

Official Site

PROKE (GERMANY)

This is modern thrash performed by this young German trio who don't aim at any originality, just bash in a way not too dissimilar to Carnal Forge Or Their Compatriots Ravage. "Conquistador" runs away from the formula with a more complex approach, still thrashing wild at times among the melodic hooks. The singer is the staple gruff death shouter, a fitting addition to the equally as generic musical scenery.

As You Sow, So You Shall Reap Full-Length, 2016

Official Site

PROLAPSE (UK)

The former bassist of the legends Sacrilege Paul Morrisey (no, this is not the famed cult director) is at play here, and the style is dynamic hard-hitting thrash also served with a crystal clear sound quality. The guys shred with force without breaking any sound barriers, and they sound kind of more convincing when they shred in rigorous mid-pace: check out "Dead Man Blues" (which is anything but a "blues"), the short cutting "Wargasm", the raging galloper "9-5", etc. "Thrashing In The Church" speeds up near the end, and indeed many monks and nuns will start headbanging spontaneously if this track is played in some church. The singer delivers with his confident mean-ish semi-clean timbre which is close to semi-reciting at times, but fits the very good music. This is a very unknown, but utterly worth hearing effort from the deep British underground.

Destruction of Life Demo, 1989

PROMETHEON (USA)

This band provide very cool modern technical thrash/death with shades of Nevermore and Altered Aeon, with brutal death metal vocals. The guitar work is pretty sterile and robotic, but short jumpy shredders like "Interstellar Imprisonment" are quite worthy hearing out. Later on things become even more interesting with the dark thrasher "Nightmare Hall", and with the excellent surreal lead-driven cut "Crude Creation". All of a sudden arrives the hectic technical thrash/deathster "Cranial Control Contraption", and the situation hits the top, great help also provided by the short puzzler "Psychosis" and the stomping virtuoso instrumental "Unnatural Selection". The title-track would be a surprise with its mellow doom delivery, but many will be the enchanted on the closing "An Ancient Invasion" which is a wild technical ripper in the best tradition of Atheist and Coroner. This is truly a find, a major contender for the top ten of 2014, and one of the most successful "experiments" on the technical metal field for the past few years.

The Experiment Full-Length, 2014

Official Site

PROMISCUITY (ISRAEL)

This Israelian trio comes up with three songs (one for each member) of noisy chuggy black/thrash with slightly distorted guitars which mixes the primal intensity of early Whiplash with the more playful power/thrash chords of Bewitched. The singer is a major detriment and his brutal low-tuned death metal delivery is a total waste.

Infernal Rock N' Roll Demo, 2011

Official Site

PRONG (USA)

Prong's beginnings (the first two albums) were raw energetic thrash/hardcore affairs, still considered one of the more uncompromising achievements from this sub-genre. The band abandoned their aggressive attitude on "Beg to Differ" settling down for an original take on the modern 90's sound (at this time not fully developed yet), slow-ish, groovy, with a touch of industrial, and not a big presence of thrash, if any. Having forged an interesting style of their own, which lasted for at least one more full-length ("Prove You Wrong"), the guys brought the speed back on a few tracks from "Cleansing", resulting in a fine thrashier effort ably supported by their more recent, modern approach, and is their finest hour at this point.

"Rude Awakening" is the band's most melodic, but no less impressive work, again with no ties to thrash. Then Tommy Victor (the band's founder and frontman) put an end to the band's career, and got involved with other bands (Danzig, Ministry, Killing Joke), before returning with "Scorpio Rising" 7 years later. This album was a direct take on the band's hardcore past, still infused with their unique sound from the 90's; some of the tracks on that one surpassed in terms of aggression even the most furious numbers from their first two efforts, and it's these tracks which kind of didn't work out compared to the better, on a musical level, other material.
"Power of the Damager" is a nice continuation of the more thrash-based sound from "Cleansing", sometimes following those patterns maybe too closely, and is almost as good. It starts in an openly heavy thrashing manner with the nice headbanger "Looking For Them", which will remind you of the band's biggest hit "Whose Fist Is This Anyway" from "Cleansing". Then comes "No Justice", which in its turn sounds very close to "Snap Your Fingers, Snap Your Neck". The "third option" "Third Option" is a cool mix of the jumpy Prong-esque post-thrash and more intense riffage, which comes as a more aggressive "Another Worldly Device". Things only get harder later on, straying away from the "Cleansing" formula, on the pounding intense "Pure Ether", which also adds spacey melodic tunes, again a staple mark for the band, quite well epitomized on "Rude Awakening". "Power of the Damager" is vintage mid-paced heavy thrash, after which the hectic trade mark post-thrash reigns supreme on "The Banishment", bringing the delivery back to "Beg to Differ", where the industrial legend Al Jourgensen (Ministry, Revolting Cocks, etc.) helps with a short performance on keyboards. "Worst Of It" carries on in the same vein with Tommy Victor showing his better vocal abilities with more melodic higher tones, not too far even from Ozzy himself. "Spirit Guide" could be considered the odd ballad, although in the 2nd half the thrashing comes back with full force. "Messages Inside of Me" is another prototypical Prong number with the discordant guitar and the groovy post-thrash approach, but "Can't Stop the Bleeding" returns to thrash territory once again sounding like a leftover from... oh, come on, enough with these references to "Cleansing", man! And enough with this long review as well, although I have to also mention the hardcore-ish "Bad Fall", the sole reminder of the band's very beginnings, and the excellent closer "Changing Ending Troubling Times": an all-out dynamic thrasher with a furious hardcore deviation near the end, ably "assisted" by brutal death metal growls unleashed by Victor (supposedly). I can hear some fans complain about the relative decrease of the original technical/progressive leanings from their works of the 90's on this album, but those same fans will hardly be left indifferent listening to their favourite band's most thrash-fixated release to date. One can hardly think of a better comeback for these guys, and one can easily forget about the previous shaky effort, moshing around, raising his (or whose) fist. Anyway...

After the excellent "Power of the Damager" the confidence in Tommy Victor and Co. grew and on "Carved Into Stone" one may not be surprised to hear the band thrashing wildly like never before. The opening "Eternal Heat" is a virtuous thrasher, a hard-hitting number with a formidable wall of guitars. The band's staple crunchy, hard to label, approach comes forward on the next "Keep on Living in Pain", and the next string of songs is a direct take on the groundbreaking "Beg to Differ", "Revenge Best Served Cold" bringing more relaxed playful rhythms ala "Rude Awakening". Grab your seats for a couple of more hard-hitting moments on the interesting diverse "State of Rebellion", and also on the straight return to their 80's roots with the short crossover thrasher "List of Grievances". At the end the guys relax with softer sounds with a dreamy, progressive quality, retouching the bite of the riffs. As a whole we have a really cool walk over the band's back catalogue which will also be a pretty nostalgic trip for the band fans with tunes and hooks recalling the band's past in many good ways.
"Ruining Lives": the band will be a more regular "menu" on the fan's table from now on having in mind the warm reception of their more recent albums. Here comes album number five after the reunion to rock you "like a hurricane" displaying the familiar edgy thrash/post-thrash. It begins quite impetuously, as a matter of fact, with the first several cuts which are major headbangers (check out "The Barriers"), but arrives the melodic proto-groover "Windows Shut", and the staple Prong approach is evident. The hard riffage returns later on, first with the dramatic shredder "Ruining Lives", then with the excellent classic thrash resurrector "The Book of Change" which will spill your teeth and fillings all over the place. Such brutality is not to be come across later on, but the album deliver all the way till the end not without the help of the excellent semi-technical ripper "Chamber of Thought", and the jumpy progressive closer "Limitations and Validations" which also boasts a very cool catchy chorus. The band have done another good job, and one sees no reasons why they should run away from the winning formula for the future.

"Songs from the Black Hole" is a covers-only tribute to acts from all walks of music: Discharge, The Sisters of Mercy, Killing Joke, Black Flag, Bad Brains, etc. Nothing special really the pieces being performed faithfully without any more particular innovative elements.
"X-No Absolutes": Tommy Victor and Co. are becoming more and more prolific, but in the case of this seminal band the fans should have no worries that this would happen for the sake of the quality. Still, surprises are also out of the question; "Ultimate Authority" is the staple pounding catcher to open the album, but "Sense of Ease" is the headbangers' paradise, a major speed/thrasher at its classic best. "Without Words" is a twisting groover with doom overtones, but the title-track turns to thrash again this highly dynamic delivery spiced by the spacey modern rocker "Do Nothing" and the full-blooded ballad "Belief System". The slow middle over, the guys start moshing out for the umpteenth time with "Soul Sickness" and the more laid-back "In Spite of Hindrances". "Ice Runs Through My Veins" is the traditional for the band mid-tempo nerve-calmer, but "Worth Pursuing" is already a more aggressive proto-thrasher. All the way to the not very relevant rocky closer "With Dignity" which doesn't quite reflect the dynamic nature of this very cool effort which shows the band in a fairly bright light sticking to what they can do best.
"Zero Days": Tommy Victor and Co. quickly turn into the most prolific act on the scene in the new millennium, and there's nothing bad about that as long as the band retain the high quality of their output. Drastic alterations to the delivery haven't been made like the opening "However It May End" shows only too well with its characteristic semi-mechanical riffs which go on on the faster-paced title-track, the more stripped-down hardcore-ish side of the album exemplified by the more relaxed speedster "Off The Grid". "Forced Into Tolerance" brings back the thrash with full force, and this more aggressive stance has been given other chances despite the presence of their staple quasi-groovy semi-progressivers like "Blood Out Of Stone". "Operation of the Moral Law" is another thrashing outburst the mellow/harsh alternation continued with "The Whispers" although the latter is a fairly energetic piece with a couple of less restrained thrashy strokes. "Self Righteous Indignation" is a chuggy industrial doomster, and "Rulers of the Collective" is the next in line pleasant friendly melo-groover. In the end there's a little bit for nearly everyone the band making sure to cover all nuances from their better opuses, including on the closing "Wasting of the Dawn", a cool nervy jumper in the best tradition of "Innocence Gone" from "Rude Awakening".
"State of Emergency" is another capable affair from Tommy Victor and Co., the dirgy but dynamic opener "The Descent" instigating a pretty decent stroll which is later tamed to an extent by the bouncy title-track and the jumpy dramatic "Breaking Point". The show goes on with the confrontational quasi-groovers "Light Turns Black" and "Who Told Me", the spacey semi-headbanger "Obeisance" the possible highlight, also bringing the industrial flair from older recordings to the fore, "Compliant" following on this corrosive path with with a marginally more aggressive rhythm-section. "Back (NYC)" is a direct crossover/core piece, and "Working Man" wraps on the variegated fiesta with a mixture of chunky thrashy riffs and mellower psychedelic nuances, a concoction the band have perfected down to the -C- through the years.

Primitive Origins Full-length, 1987
Force Fed Full-length, 1988
Third From The Sun EP, 1989
The Peel Sessions EP, 1990
Beg to Differ Full-length, 1990
Prove You Wrong Full-length, 1991
Whose Fist Is It Anyway? EP, 1992
Snap your Fingers, Break your Back (The Remix EP) EP, 1993
Cleansing Full-length, 1994
Rude Awakening Full-length, 1996
Scorpio Rising Full-length, 2003
Power of the Damager Full-length, 2007
Carved Into Stone Full-length, 2012
Ruining Lives Full-Length, 2014
Songs from the Black Hole Full-Length, 2015
X-No Absolutes Full-Length, 2016
Zero Days Full-length, 2017
State of Emergency Full-length, 2023

Official Site

PROPAGATOR (CANADA)

One guy, the pseudonym Morbid, who is also a member of quite a few underground black metal acts, is in charge of these two tracks of evil old school speed/black/thrash which are fast with the casual use of the blast-beat supported by an appropriate slightly muddy 80's-like sound quality. Morbid sings in a sinister forceful fashion always clearly heard exercising the necessary amount of authority for this kind of music.

Propagator EP, 2011

My Space

PROPHACY (USA)

Heavy modern post-thrash which is largely a crusty mid-tempo fiesta ("Scarecrow"), "Tangerine Dream" introducing a more melodic goofier clout, the jocund mood preserved for at least half the cuts, not without the participation of the omnipresent authoritative bass and the cool clean semi-declamatory vocals. "No Religion" is a cool stoner/ballad, and "Tower of Ruin" is an unceremonious stomping behemoth with clear retro thrash pretensions.

Time Full-Length, 1995

Youtube

PROPHECY (BRAZIL)

The demo: quite good classic Bay Area thrash along the lines of early Testament and Metallica, among others. The guys play tight and fast, spicing things up with great melodic riffs (check out the sinister doom break on "Empty Life). "Agony Within" slows down, but remains entertaining with heavy meaty guitars. The vocalist does a good job coming as a potent mix between James Hetfield and Chuck Billy.

The full-length: there'll be non-stop moshing on this cool retro thrash reminder; the guys follow with dedication the path of the Bay-Area heroes, especially the one carved by Testament: just listen to "Lying Prophets" and discover the mighty Americans in a better way than "The Formation of Damnation". "Agony Within" is the odd proto-modern stomper, but everything is forgiven after the brisk explosive assault which is "Empty Life". "Risen From Hell" is the prototypical mid-period mid-tempo heavy Testament number, followed by the more energetic, but still not quite fast, "Paradigmatic Reality". "Evilution" pulls all the stops once again, thrashing its soul out. The absolute highlight is the great instrumental "Nameless" which begins in a haunting balladic acoustic fashion before it develops into a crushing thrash experience where a big part is given to the nice lead guitar work. This masterpiece overshadows the following not very interesting monotonous "The Game(Is Violence)", but the closer "Legacy Of Ashes" takes no prisoners, thrashing without mercy, putting this promising young outfit right next to master practitioners of the genre from their homeland, like Violator, Bywar, Flashover, Executer, Breakdown, etc.

Technics of Violence Demo, 2001
Legions of Violence Full-Length, 2008

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PROPHECY (DENMARK)

Based on "Twisted Reality", this act, founded by the Bulgarian guitarist Nikolay Atanasov (now the legends Agent Steel) in team with two members of the Bulgarian power/speed/thrash stalwarts Hades, indulge in brisk retro thrash accentuated by sharp lashing riffs the overall approach not too far removed early Exodus; another act the rhythm-section, especially the one on the pounding steam-rolling title-track, may remind you of is Atrophy. The vocal participation needs some refining, though, as the guy just shouts in a harsh proto-death fashion his skills not quite there yet compared to the ones of his comrades. "Condemned to Insanity" and "World Disassembly" fight for the highlight prize here, both sizzling more technical propositions, the band showing bigger musical prowess for the execution of these ripping Bay-Areasque roller-coasters, both cuts displaying a promising young formation who may as well provide the needed rivalry to the champions Artillery over there as long as the band members don't get distracted with the other acts they're taking part at present, the old school progressive thrashers Thrashers Inc., and the death metal cohort Tardus Mortem.

Twisted Reality Full-Length, 2018
Mental Punishment Full-Length, 2019

Official Site

PROPHECY (SWEDEN)

This not very known entry into the Swedish metal catalogue of the early-90's runs away from the established death metal vogues towards dark hypnotic mid-paced classic thrash which doesn't change much throughout the four tracks offered, but is decent morose fun also thanks to the good subdued semi-clean vocals which at times raise the pitch towards more sinister death metal fields. There are some cool melodies (the title-track) as well as a nice faster-paced section on the same song.

Remission of Sins Demo, 1992

PROPHECY (USA)

On their only demo these guys play a mid-paced fusion of traditional, power and thrash metal; music-wise this is quite good with a nice addition of violin melodies here and there which might remind you of the Dutch Blind Justice or Skyclad. The downpoint is the terrible, somewhat alternative, vocals which don't suit the music at all.

Serpents of the Valley Demo, 1997

PROPHECY (USA)

This compilation of demos contains long-ish songs (5-7 min long) which don't sound progressive or technical: this is an early blend of power, speed and thrash metal, quite well done, with references to the Nasty Savage debut and Jag Panzer in the heavier parts, or Attacker and Agent Steel in the speedy ones ("Radiation Wasteland" and especially the magnificent "Cry of the Innocent" richly deserve a place even on the Agent Steel debut with its furious fast riffs). The guitar work is particularly impressive: the guys come up with stylish riffs last heard on the first two Mercyful Fate albums as well as great leads ala Michael Denner (from the same band); the satanic lyrics also bring this band close to the Danes.

Demos, 1985-1987

PROPHETS OF APOCALYPSE (FRANCE)

The debut: this act deliver melodic power/speed/thrash which balances between the "eagle fly free" approach ("Searching For Light") of the 90's speed/power metal fraternity, and the more elaborate, but still intense, exploits of Manticora and Hellfire ("God Killers"). "Last Hope" is a slacker, though, a 7.5-min ballad/semi-ballad; and the closer "The Age Of Gods" also goes over the top, a 10-min progressive opus which spends most of the time in calm power metal waters to which the excellent dramatic, emotional clean vocals suit perfectly.

Prophecy Full-Length, 2015

Official Site

PROPHETS OF DOOM (DENMARK)

This Danish formation, who were called Prophecy earlier when they were playing classic heavy/power metal, would surprise with their clever, technical take on the power/thrash metal idea producing something not far from their compatriots Artillery at their best. They actually started the transition to more aggressive music with one demo in 1986 under the name Migaira. This is elaborate stuff also recalling the Americans Realm and the Canadians Savage Steel, the songs nicely "cut" by short virtuoso instrumentals ("Structural Madness"). Stomping doominess takes over for a while on "Spiritual Pollution", but "Abandoned Rest" is a speedy shredder which grows into the dramatic power/thrasher "Access To Wisdom". Classic American power/thrash is what one will hear on "Pilgrims Of The Faith", but "Carrier" is raging thrash to the bone, a short explosive number which gives room to the closer "Satanic Rites": a calmer complex composition which wraps things quite well giving the album the necessary progressive edge. The vocalist is a find with his great versatile performance covering several ranges staying mostly within the mid to high clean parametres. This obscure effort is truly one of the finest pieces of metal to be released in the late-80's/early-90's in Denmark standing proud beside the pillars Artillery. Later in the 90's the band members turned to even more complex progressive power metal under the name Northern Empire.

Access to Wisdom Full-length, 1989

PROPHETS OF THE APOCALYPSE (USA)

There's only one musician, the name Pete Serro, involved here. Based on the full-length, he provides fairly cool old school death/thrash of the more technical, also progressive type, the less bridled energy of the opening "Ashes" swallowed by the encompassing entanglements of the very appropriately-titled "Maze of Doom", only that there's no doom here under any form; this is a great multi-layered opera with numerous twists and turns the latter acquiring, more aggressive death metal proportions on "Burn the Dead", an evil sinister composition which is replaced by short spastic Atheist-esque wonder "Shield Maiden". Death metal stays around for the more serious thick rifforamas on "Trophies of War" and "Dead Winter Night", the chaotic less restrained flair of "Hierarchy of Terror" and "Ancient Wars" total outtakes from the early Hellwitch repertoire. The culmination of Serro's endeavours is on the closing saga "Crush Thy Enemy", a brilliant progressive thrash/death compendium with blazing leads, sudden time changes, speedy developments, and Serro's not very convincing computerized subdued deathly vocals, the latter ingredient the only spoiler on this admirable recording.

War Metal EP, 2018
Threshold of War Full-length, 2019

Official Site

PROPHETS ON VACATION (USA)

Raw clumsy thrash/crossover which has some of the hypnotic characteristics of Sacrilege's first two albums with its monotonous riff-work at times (on the longer tracks) but unlike the Brits these guys fail to pull out the best out of such an approach, and often does the music try to liven up with spontaneous outbursts reflected in short 1-1.5min songs. There is a bit of S.O.D. ("Speak English or Die") as well, but the dominant boring mid-pace and the unemotional performance by everyone involved makes this effort a lot inferior to the models it tries to follow.

Mosh To Relax To Full-length, 1989

Fan Site

PROPHEXY (ITALY)

This unknown act, previously known as Prophecy, offers outstanding progressive/technical power/thrash, complex thought-out music coming as a more dynamic early Psychotic Waltz mixed with Sieges Even's "Life Cycle", with nods towards mid-period Fates Warning ("Awaken the Guardian", "No Exit") on the more laid-back parts. The opening "Synthowomb" is a wonderful labyrinth of strange time-changes, hard-hitting riffs, jazzy arrangements topped by very cool emotional clean vocals ala John Arch (Fates Warning) and Bruce Dickinson, setting the tone for the elaborate picture that follows. "Pi" may upset you a bit with the synthesized direction the vocals take at some point, but the music is top-notch progressive metal with great bass work, a speedy mid-section and a weird main theme reminiscent of Voivod's "Killing Technology". "Humanicity" is state-of-the-art hectic technical thrash with a few quiet semi-funky sections thrown-in. "Babba" is a sprawling, mostly instrumental, progressive composition with creepy riffs and balladic passages, the "sleeper" here, but "Babba's Progeny" is already more intense, and although title-wise it's related to the preceding number, in terms of music there isn't much to relate it to it, the latter being much shorter, but surprisingly more diverse. That same formula gets repeated on the next three songs until the coming of "Terminal Sorrow": aggressive technical thrash in a galloping pace with many twists and turns. The final "Sdrenoid" is the most ambitious track; quite a varied offering with a stormy aggressive beginning and ending the middle occupied by a slightly overlong balladic passage; the actual finishing touch is actually a very complex jazzy variation ala Spastik Ink which will make your head spin.
This excellent debut was left without a follow-up for five years when the band came out with the more melodic, but much more complex and abstract, "Alconauta" which is by all means a very engaging listen from beginning to end, but its appeal to the thrash metal fan will be not very big.

Enforce Evolve Full-length, 2004

Official Site

PROPOSITAL NOISE (BRAZIL)

This is very typical 90's post-thrash without any good ideas and imagination; soft repetitive riffs without much heaviness or melody keep coming making this fairly below average effort sound like a washed-down version of Anthrax's "Stomp 642", finished with an unimpressive cover of the Beastie Boys' "Fight Your Right".

Dogday Full-length, 1997

PROSATANOS (GERMANY)

Based on the first demo, these lads serve an old school black/thrash blend which is characterized by very raspy witch-like vocals and dark ominous riffage which tears loose on the short blasting "Vampire". Elsewhere it's the good old thrash that reigns supreme, the vehement "Death of Christians Maiden" setting the tone for a furious pogo which is touched by death on the melo-brutalizer "Pain, Torture, Horror". Pretty acceptable smooth production facilitates the creative process which, by the way, has stretched into a long string of demos all the way to the present day. Some of the musicians are also involved with the retro thrashers Buried God and the black metal cohort Redreom.

Rise of the Dead Demo, 1998
Victims of Inquisition Demo, 1999

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PROSCRIPTOR MCGOVERN'S APSU (USA)

This is the new incarnation of Proscriptor McGovern, the mainman behind the black/thrash legends Absu, who has only taken the bassist Paul M. Williamson aka Ezezu with him. On this new carnival the delivery is more technical and more complex, a black/death/thrash blend again, the band evoking the spirit of the late Chuck Schuldiner with the stylish shredder "Amenta- Accelerando", with "Esoterically Excoriating The Exoteric" complicating the environment even further with mazey configurations and delightful melodic hooks. More aggression is emitted from the restless and more linear "Quasaric Pestilence", but expect barely soluble equations served on the mesmerizing "In-Betweeness Gateway Commuters", a standout piece of art and arguably the man's finest creation. Even on brisk brief breezers like "Jupiter In Capricornus" there's loads of visionary shredding to be encountered, McGovern excelling in every department, even on straight-forward orthodox speedsters like "Caliginous Whorl". The intricacy gets diminished on a string of cuts towards the end, but picks up a lot of inertia on "Every Watchtower Within", an encompassing progressive with encyclopaedic musical provisions and a breath-taking balladic epitaph. At this early stage this sounds even better than the Absu repertoire, a near-immaculate display of musical proficiency with an undeniable far-reaching potential.

Apsu Full-length, 2021

Official Site

PROSECTOR (POLAND)

Based on the "Total Shit" demo: this band play aggressive thrash/death ala early Messiah and early Death, which has a nice melodic break in the form of the Russian folk song "Kalinka Maja" in the middle; afterwards the aggression tones down, but just a bit, and the guitars thrash with more precision although the very bad sound quality will be a big obstacle to enjoy this music.

Total Shit Demo, 1987
Terrible Ceremony Demo, 1988

PROSECUTOR (POLAND)

Based on the demo, these Poles provide complex quasi-progressive thrash which is seriously obstructed by the bad sound quality. Otherwise the band have the necessary competence to come up with this complex stuff which is mostly mid-tempo with various riff-patterns entwined and cool leads scattered around. The pace may bore the listener, though, at some stage since the approach could have benefited from a few faster passages which arrive near the end with "Pustynia Smierci", a fierce lasher with a proto-death metal shade. The singer isn't very rehearsed singing in a dispassionate semi-clean manner with a few shades of emotion.

Desert of Death Demo, 1990
Krew Czarnej Ziemi Full-length, 1992

Official Site

PROSELYTISM (NORWAY)

The debut: a Norwegian duo who indulge in vicious intense classic black/thrash with some death metal ("Scapegoat") also thrown in to scare away the posers, the epic stopovers on "Death from the Sea" by all means a welcoming deviation, the steady epic march on "Hunger of the Beast" reminding of both Immortal and mid-period Bathory. The singer follows the same extreme as the music path, shouty deathly rendings that tear the aether neither sparing the performer nor the audience.
"The Desecration of Ancient Bones" is another extreme brutal affair, the guys bashing with very little restraint, the battle-like stompiness of "From Royalty to Slavery" the only more legitimate stopover from the exhausting downpour, the complicated soundscapes of "Through Treacherous Lands" drawing more progressive trajectories to be explored in the future.

Blood of the Deceivers Full-length, 2020
The Desecration of Ancient Bones Full-length, 2023

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PROSODY (USA)

This act specialize in heavy groovy thrashcore which comes both more energetic and more melodic than the regular band in this field. Some of the melodies ("Cleansed In Agony") are really admirable and make more "brutal" cuts like "Dawn Of Brutality" barely noticed. "End of Your World" is a nice slice of doom, but the tempo seldom goes below the mid. The singer shouts and quarrels throughout also displaying a small sense of melody on the softer moments. Some of the band members had played in the death metallers Ossuary in the early/mid-90's.

The Dawn of Brutality Full-Length, 2013

Official Site

PROSPECT OR IMMORTALITY (TURKEY)

This roughly-produced demo displays intelligently-written classic thrash in a solid mid-paced with dramatic build-ups and brutal death metal vocals. The approach is quite melodic with haunting melodic tunes coming from all sides to make this obscure effort a unique, less ordinary listen. Despite the relative short length of the numbers the band manage to spice the tempos with a few more dynamic moments (check out the shredding atmospherics on the excellent "Demention" which reach a blasting drama at some point) and several beautiful leads. The closing "Insanity" is just a sinister balladic instrumental with a rainfall accompanying the macabre guitar approach.

Demo Demo, 1995

PROSPECTIVE REIGN (FINLAND)

Based on the full-length, this act specialize in intense old school thrash/death metal ala Torture Squad and Defleshed with short blitzkrieg cuts flying from all sides, stirring moshpits left and right. The ball calms down on the more diverse mid-paced shredder "Open Grave", but don't expect mercy elsewhere with no-bars-held lashers like "...And the Kingdom of Heaven Shall Burn" and "Under My Blade" propagating the death metal idea far'n wide aptly supported by the forceful, but subdued death metal vocals.

Abandon Your God EP, 2013
The Beast Within Full-length, 2018

Official Site

PROSPER OR PERISH (USA)

The debut: metalcore-ish modern thrash which jumps in a predictable mid-pace with the obligatory "updates" in the headbanging department (the death metal-laced madder "Only With Death") and the soaring melodies some of which are really nice. There's definitely a lot of dynamics to be encountered: check out the technical cut "III to I" and the dramatic proto-deathster "Skeletons", and this effort could pass for one of the better offerings from the metalcore field.
"Invoke the Tempest" is a more intense offering even acquiring nice galloping tendencies ("Jobson" which is a prime brutal shredder). "Cyclone" is a nice more technical piece with blasting death metal overtones, and "Trust Fall" is another stylish roller-coaster. Towards the end the compositions start moving towards the Swedish melo-death/thrash spectre, but the music retains its dynamic character with more melody added.

Defiant Full-Length, 2010
Invoke the Tempest Full-Length, 2015

Official Site

PROSPHESY (UKRAINE)

Classic thrash/crossover mixed with jumpy groovisms reminding of Infectious Grooves at times, but this is heavier and groovier. "Haggard And Crucified" is a surprisingly dynamic piece with headbanging tendencies, but the second half is way softer with ballads and doomsters plaguing the playing space helped by the cool clean vocals which turn to Russian on the merry roller-coaster "Two Words".

Ethnos Demo, 1994

PROSTATA (FINLAND)

I beg your pardon for the missing information here, but there was nothing available around to help me find more about this otherwise interesting band. Four tracks of instrumental technical thrash with numerous tempo changes and intriguing guitar work; apparently a draft for something bigger to come.

Demo

PROSTHETIC (SWEDEN)

Only one person (Mats Andersson) is behind this modern thrash/death metal hybrid, which is competently done, with a good alternation between melody and aggression, seldom escaping the rules set by his homeland. This is fast, tight, also quite melodic at times, stuff with rough throaty, but intelligible, death metal vocals.

Demolition Demo, 2008
DEMOlition Part II Demo, 2011

My Space

PROSTHETIC SOUL (UK)

This new act indulge in modern post-thrash with strong industrial overtones sounding like a slightly more relaxed version of the Canadians Soulstorm. The guys try something more complex, but the noise coming from all the instruments doesn't make much room for anything more stylish to be heard clearly. Some death metal sneaks on the closing "Outbreak" to dissipate the "darkness", and it manages to move things around with its more vivid riffage also suiting the deep guttural vocals which take quite a bit of space.

Child's Play Demo, 2013

PROSTHETICS (SPAIN)

Melodic, laid-back post-thrash with sincere heavy metal leanings; this is soft stuff with adherence to groove quite a bit, as well as to better constructed balladic passages. The guitars are a bit noisy, and the singer is suitably clean with an attached, emotional delivery.

Origen Full-length, 2011

Official Site

PROTECTED ILLUSION (FINLAND)

The full-length is a small ball of fury which will leave you gaping; just listen to the opening "Clockwork Toy" which in its a bit more than 2-min packs numerous aggressive riffs. This is nothing, however, compared to the following "Plain Pain", which is total blasting death metal with a genuine technical twist. "Children Of The Chords" is an awesome technical death/thrasher, a whirlwind of chaotic technical guitars and raging blasting ones. Later on the sound remains quite technical favouring death ("Decadence") or thrash ("Greetings From Hell", minus the very aggressive final riffs) more. "Symphonies Of Happines" will definitely make "happy" both the thrash and death metal fans, especially those who love the more technical side of those genres. "Runk Opstrom" closes this great work in a more offbeat fashion: after the short very furious death section in the beginning, the band give themselves a break with a melodic rock-ish ballad where the vocals take a good cleaner drunken edge.
"Swimming in the Moonlight" is perhaps more on the thrash metal side and sounds quite close to the Swedes Merciless' debut, and the early works of Massacra. After the longer, but very aggressive thrasher "Method Of Manipulation" the guys take a more direct approach with shorter numbers which will thrash your heart out. There is no much technicality involved; the band bash with ultimate aggression until the very end.

Swimming in the Moonlight EP, 1989
Festering Fairytales Full-length, 1990
Sandman's Store EP, 1991

Official Site

PROTECTOR (GERMANY)

After 1986 brought the extreme winds of change in the works of Messiah, Kreator, Sarcofago, Slayer and Dark Angel, 1987 produced its two more vicious "monsters": Death's "Scream Bloody Gore" and Protector's "Misanthropy", and virtually gave birth to the death metal genre. Although death metal was already heard on Messiah's "Hymn to Abramelin", these two works gave the style its more complete form: more refined, still thrash-based on "Scream Bloody Gore", and more brutal and faster on "Misanthropy". The Protector debut EP with its seven compositions is a small album in itself, unleashing 6 (the 1st one is an intro) tracks of misanthropic (the title is very appropriately chosen) blasting death metal to the bone with only "The Mercenary" showing some lenience with its slower riff work.

The two "fathers" of death metal were quick to release follow-ups to their pioneering debuts the next year, but while Death's "Leprosy" hardened the course, going deeper down the rabbit... sorry, death metal hole, Protector looked towards thrash for inspiration on "Golem", which didn't sound as merciless and extreme anymore. Still it remains pretty fast and aggressive with a better guitar work, but songs like "Apocalyptic Revelations" and "Golem" are mid-paced at best, even bordering on doom. Certainly, one can easily get a headache on the faster, more death-laced material, like "Delirium Tremens" or "Germanophobe", but the base here is strictly thrash, with one very cool attempt at a more jumpy technical play: "Only the Strong Survive".

"Urm the Mad" combined the two extremes to a not very positive effect: "Molotov Cocktail" is pure bashing grind; "Decadence" is benevolent speed/thrash, something which same year's Paradox' "Heresy" offered aplenty; and "Nothing Has Changed" is ponderous clumsy doom. The rest is more consistent intense blends of thrash and death metal, but still sounding like distant echoes of the groundbreaking debut. By no means full-fledged works of death metal, the first two Protector full-lengths set a good example of how thrash and death metal could co-exist, immediately picked by many new acts, who didn't feel too safe to jump heads-down into the death metal "abyss" without a "rope" (thrash metal, that is, for the less initiated).

"Leviathan's Desire" was solid death metal with fewer hints at thrash, with the guys' message further strengthened by the addition of 3 songs from the "Misanthropy" EP. This marked the band's return to the "realms" of death metal which resulted in the production of two more full-lengths, both very good exercises in fast aggressive old school death metal.
"The Return of Thrash and Madness": another legend is coming back, alive and well, with a 4-song demo which shows the guys not having lost their penchant for dark intense tunes crossing the thrash and death metal genres in a seamless fashion. "Road Rage" is rather a tribute to Slayer than a return to the band's older style, but comes "Deranged Nymphomania", and the death/thrashing madness begins followed by the short raging bomb "Terra Mater" before "Birth of a Nation" slows down a bit to pull the scales towards thrash at the end, the way it started. Martin Missy sings in a more hoarse manner now, lower-tuned and less expressive, albeit still pretty death-like.

"Reanimated Homunculus" sees the band fairly "reanimated", albeit with an almost entirely new line-up except for the vocalist Martin Missy, hungry for more thrash/death "terrorism" which now comes more thrash-infused as opposed to the last two releases in the 90's. Even speed metal comes covered on the short roller-coaster "Holiday In Hell", with the next title-track providing a solid doze of mid-paced stomping thrashism. The real rage is unleashed in the second half with "Lycopolis" and the semi-technical "Antiman" before the appropriately-titled "The End" wraps it up with a portion of twisted speedy decisions. The album fits nicely into the overall reunion landscape of the past decade, and although it doesn't quite shine above the band's past achievements, it shows vigour and desire on the side of the band to be a part of the contemporary thrash metal scene.
"Cursed and Coronated": Missy is intent on continuing with the "heritage", and here comes another opus of the band's staple thrash/death "carnage" with the two styles balanced well as the delivery is often quite fast and aggressive. The title-track runs away from the formula with a portion of heavy ship-sinking rhythms, a rousing doomster. "Six Hours on the Cross" is a great galloping thrasher, and the next "Base 104" is a ripping headbanger with a nice slower mid-break. "To Serve and Protect" serves a more intriguing slab of thrash/death with a stylish alternation of the pace, and "Terra Mater" is the next in line crushing rager. "The Old Boil" is a shift towards more relaxed crossover, but is another tasteful cut ending this highly enjoyable album which sees the band moving up the scale towards the upper echelons of the scene.
"Summon the Hordes" continues up the lofty trajectory the guys have riding as of late with thrash dominating the proceedings, either served in a fast ripping manner ("Steel Caravan") or blended with heavy hammering two-ton riffs ("Two Ton Behemoth"). "The Celtic Hammer" is a stomping proto-doomster, and the title-track goes towards the other opposite with less controlled deathly rhythms. The headbanging fest seldom stops, though, with "Meaningless Eradication" and "Unity, Anthems and Pandemonium" shaking the fan's world with raging semi-technical riffs for another entertaining roller-coaster ride provided by these veterans who cut themselves some slack on the short grind/hardcore-ish closer "Glove of Love".
"Excessive Outburst of Depravity" is the staple for the band hyper-active representation, "Referat IV B 4" moving up the technicality scale with a more polished veneer, also touching the death metal domain with bigger verve, "Open Skies and Endless Seas" staying on the same more brutal pedestal, racing with "Infinite Tyranny" for the most maddening pace here. The speed/thrashing urgency of "Perpetual Blood Oath" can't be left unmentioned, either, the more controlled seismicity of "Cleithrophobia" a cool deviation, before "Toiling in Sheol" beats it all with a supreme technicality/aggression juxtaposition, the finest number on this very entertaining recording which should keep the band fans highly thrilled all over.

Misanthropy EP, 1987
Golem Full-length, 1988
Urm the Mad Full-length, 1989
Leviathan's Desire EP, 1990
A Shedding of Skin Full-length, 1991
The Heritage Full-length, 1993
The Return of Thrash and Madness Demo, 2011
Reanimated Homunculus Full-Length, 2013
Cursed and Coronated Full-Length, 2016
Summon the Hordes Full-Length, 2019
Excessive Outburst of Depravity Full-Length, 2022

Official Site

PROTERVIA (SPAIN)

This band pull out playful modern post-thrash which isn't very eventful except on very few occasions when the guys just bash with hardcore abandon ("4 Paredes") and these moments should have been more (the vigorous closer "You Can Remember" also comes to mind). The singer is an attached angry shouter rarely helped by a more emotional female vocalist.

Criminal Hardcore Full-Length, 2011

PROTEST (USA)

Based on the full-length debut, this act provide intense classic thrash with some hardcore tendencies. The guys mosh with conviction adding the necessary stomping break ("Fueled by Hate"; the pensive, quasi-doom "White Noise"), but you'll have to run for cover on the more aggressive, death metal-laced numbers ("Prophet$"). In the second half the speed gets diminished, even a few battle-like touches ("Blood and Sand"), in the spirit of Bolt Thrower, can be caught to a positive effect. Short, more immediate and more aggressive cuts come near the end where the bridled Slayer-esque aggression ("War Dance Black", "Kill Craft") is hard to be disguised, even by the very stylish melodic leads. "Turning Tide" is a furious thrash/deathster closing the album in a shattering fashion moshing without mercy to the end. The singer is a lower-pitched hardcore-ish semi-shouter whose angry antics fit the aggressive music quite well.
"Abuse of Power" is another wild thrashing "beast" the moments of "tenderness" (the steam-rolling freighter "Enlightened Masters") only slightly more laid-back. The title-track is pure Slayer-esque fury, and "The Condemnation Flame" adds more brutal death metal elements into the already fairly aggressive melee which introduces a mellower crossover vibe on "Star Spangled Disasters".

The Truth Enslaves Us EP, 2008
The Corruption Code Full-length, 2012
The Invisible Hand Pt. I-We Never Sleep EP, 2015
Abuse of Power Full-length, 2017

Official Site

PROTEST URBAN (ROMANIA)

Based on the EP, this act plays typical modern Swedish thrash/death metal, at times fast and direct, at others choppy and semi-technical with a taste of metalcore which is the predominant side, occasionally exiting the extreme metal field ("Amulet"), straying into other softer directions.

The Only Problem In This Case Is The Solution Full-length, 2005
I Can't Find A Question To Survive The Answer Full-length, 2006
Don't Disturb Me When I Need You EP, 2008

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PROTEUS (HUNGARY)

This demo helped pave the way for the guys to continue their career later under the name Sackrace (see the title-track here) although the style presented on these three tracks is strictly classic the guys playing with relative professionalism except in the shouty death metal vocal department: the guy really doesn't know how to sing, not even in a deathly manner. The numbers are lengthy although at this stage the technical hooks haven't been mastered so well and the several attempts made in this direction are ultimately stifled by the noisy sound quality. Still, this effort is way above average even if viewed as just a rehearsal for the Sackrace strong full-length.

Demo Demo, 1991

PROTON BURST (FRANCE)

The band's works of the 90's are mixtures of groovy thrash and death metal with industrial overtones, recalling the Canadians Obliveon on their best moments. This band are one of the very few who offer free downloads of all their efforts on their official website.
"Silence" is a good, but not the thrashiest work of the band. "Straight" sounds like a thrashing industrialized Dead Kennedys, especially with the Jello Biafra-like vocals; actually this song isn't too far from the sound on the Biafra's side-project Lard. "Ombres" is a lengthy monotonous track which would easily make Godflesh or Scorn proud. "Silence" is an effective Killing Joke-like composition where it's a bit farfetched to talk about thrash. Later on the music indulges into industrial metal with only sparkles of more aggressive thrashy delivery: the Ministry-influenced "N.W.G." (the title could be a reference to that band's huge hit "N.W.O."), the dark brooding "Sex O-D". The outro is whole 19-min long, but is nothing more than just minimalistic ambient noise. This is by no means a weak effort, but from a thrash metal point of view it won't hold water for long.

La Nuit Full-length, 1994
Sphere Spike EP, 1997
Silence Full-length, 1998
La Casa de Bernarda Alba Full-length, 2007

Official Site

PROTON PSEUDOS (GERMANY)

Based on the "Cries" demo, these lads pull out very cool intriguing progressive thrash of the old school, trippy but also fairly dynamic music which serves plenty of quirky twisted delights for the unorthodox seekers on "The House", a surreal journey amidst thick dense riff-patterns and authoritative bass implements. "Inspection" inspects the more conventional realms of prog-metal with sudden speedy intrusions, and "Variations" offers variations on the melodic thrashing dimensions, an all-instrumental saga with frequent fast-paced insertions. The singer is a decent if not spectacular clean reciter who doesn't participate very prominently on the encompassing 16-min closer "Die Antischöpfung", an alluring varied amalgam of musical complexities some of those not necessarily related to thrash.

Blowing into ... Demo, 1989
Cries Demo, 1990

Official Site

PROTOTYPE (USA)

This band rose from the ashes of Psychosis (see the review a few lines below). The style isn't as hard-hitting, but no less impressive, being progressive power/thrash metal with a jazz-like complex song-writing and some very aggressive riffs. "Cloned" is a very promising start, especially after the strong razor-sharp opener "Transcendent Velocity" which will crush you with its heavy, but also very technical, spiral-like riffs. "Mind In Motion" relieves the tension with more melodic configurations, but a strong virtuous bass bottom ala Steve DiGiorgio comes forwards alongside some impetuous faster-paced shredding. Still, the music remains on the slower, mostly mid-tempo, side compared the one offered on the only Psychosis album, but is much more complex with many non-traditional elements including acoustic, surreal moments: just check the excellent balladic respites on "Seed" for one of the most finely embedded lyrical respites into an aggressive metal frame. The shorter songs (the Psychosis reminder "Synthespian") work a bit better whereas the complexity of the longer ones (the labyrinthine masterpiece "Dead of Jericho") might cause dizziness with some.
"Trinity" is a letdown; the concentration is on elaborate, progressive song-structures and the biting thrashy riffs which ruled on the EP, have been decreased quite a bit, only preserved for the three tracks from said EP that were also included those consequently being the best part of this album. Again the short tracks carry the genuine aggressive charge of the album: "By Breeze"; the acoustic passages are even more, but this is hardly a complaint as they work quite well combined with the rest; it's just there isn't much aggression applied here to oppose to them.
"Continuum" is a convincing return to form with thrash taking the upper hand once again, not without the help of three compositions from the glorious debut EP (different from the ones featured on "Trinity"); the complexity of the songs is still there, but this time the riff attack never stops except on the dreamy progressive number "Devotion", and the short acoustic ballad "Undying". At the end there's a great remastered version of the best song from the Psychosis album ("Cold is This God").
Prototype are hardly the most prolific band out there, and their presence on the scene has been sparse at best recently. One has to agree that their complex, multi-layered style requires more time in order to be adequately executed, but at the same time he/she can't deny the fact that the 6-year hiatus has turned them into former hopefuls. With the drummer Pat Magrath (also Riot, Steel Prophet, etc.) back in the line-up (he was missing from the "Continuum" recordings) the band look well equipped to it hard again. And this is exactly the case...
"Catalyst": the guys' fondness of thrash is more explicit here, a testimony being the very opening tile-track which is hard-hitting thrash without too many progressive subtleties except for a few quirky rhythms near the end, and one may adjust his senses to a full-throttle thrash entertainment. Well, he/she will have to re-adjust them soon on the next "Cynic Dreams" which enters the progressive realm with its sprawling decisions and a more laid-back guitar approach. The complexity and the song-length grow exponentially as time passes, but everything has its limits, and "Into Oblivion" comes splashing in the middle with its lashing riffs and a more stripped-down structure. After it the album returns to the staple elaborate formulas which come accompanied by great melodic leads on "Gravity Well". "Exiled" is a dramatic ripping thrasher with echoes of Nevermore, and "Communion" is a fitting epitaph with its creepy technical guitars and the pounding base. Vince Levalois traditionally feels comfortable behind the mike his emotional mid-ranged timbre suitable for all the multiple musical nuances. Generally the band fans won't be surprised by this effort which is good all the way, providing twists and turns enough to satisfy the progressive metal lovers, and as such is a worthy addition to the band catalogue.

Cloned EP, 1998
Trinity Full-length, 2001
Continuum Full-length, 2006
Catalyst Full-length, 2012

Official Site

PROVOCATEUR (UKRAINE)

Typical modern thrash/death metal combining melodic with brutal sections the latter not that frequent playing a secondary role to the former which are very close to the ones used on the mid-period In Flames albums.

No Time To Trust Some EP, 2009

PROWL (CANADA)

Based on the full-length, this act serve a modern/classic thrash hybrid which moshes wildly ("Death for Us") on the shorter numbers, but keeps to a crunchy mid-paced trot for most of the time, the speedy digressions on "Ruined Fortifications" another more dynamic occurrence. Some of the material ("Altercation", "The Merchant of Bones") borders on thrashcore, the shouty death metal vocals exacerbating the environment with their hoarse abrasive vibe.

Hell Breaks Loose EP, 2016
Waging War EP, 2017
The Forgotten Realms Full-length, 2022

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PROWLER (SWEDEN)

The debut demo: 3 songs of prime retro thrash ala Razor and Slayer, so expect fast aggressive music with very fuzzy guitars and noisy drums. The "radioactive" theme goes on unabated (and perhaps unresolved) on the "The Plutonium School Lunch Massacre" demo, but the musicianship has jumped quite a notch, and the annoying buzz of the guitars has been erased completely. Instead, the guys have concentrated on ripping classic thrash metal, not far style-wise from the material offered on the debut demo, but here the guitars simply crush easily reaching the intensity of "Shotgun Messiah" and "Eternal Nightmare": "Green Glowing Death" will shatter your skull, a pure headbanging delight all the way with a short relieving crossover break in the middle. "Operation Reinhard" (there are only two songs here) is another lasher mixing sections in a more relaxed speedy manner with more technical ones producing a few nice melodic hooks in-between. As a whole we have a competent more diverse, almost progressive, take on the retro thrash metal idea topped by gruff intelligible semi-declamatory vocals which are certainly more suitable for the more direct approach, and some improvement in this department on the eventual full-length would do no harm to this talented outfit.

The Radioactive Demo Demo, 2009
The Plutonium School Lunch Massacre Demo, 2010

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PROWLER (USA, SC)

The debut: this power trio pull out decent modern power/thrash which is both heavy and fast at various stages of the album both sides aptly mixed sometimes into just one song ("Knives For Fingers", "What's Your Pleasure"). The singer has a powerful semi-clean timbre and acquires both more brutal deathly and cleaner tones at appropriate moments. The closer "Book Of The Dead" is an imposing closer, a heavy epic number with hammering riffs of the classic school nicely reminding of the 80's American scene, partially ruined by the unnecessary foxtrot exit taken from some old 1950's/60's film.
"From the Shadows" is more laid-back with a stronger presence of power metal, but the heavy seismic riffage shouldn't leave anyone cold, and when "I Am Wolf" starts speeding up somewhere in the middle, things almost get back on track. "The Thing Not Seen" is another very pleasant surprise being a great technical jumper which doesn't have a match later on, but serves its purpose as a deviation from the norm. "Return To The Lot" is a cool creepy semi-technicaller crowning above the two ordinary exits which are stomping quasi-doomsters. Still, this isn't a bad effort at all seeing the guys sticking to their guns without wasting all their ammunition.

After You Full-length, 2013
The New Blood EP, 2013
From the Shadows Full-length, 2015

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PROWLER (USA, NY)

Pretty decent power/speed/thrash metal EP along the lines of Attacker and Aftermath, which also features one fast, aggressive, less than a minute thrasher ("In Your Boots"), and a more melodic closer sounding like a more aggressive Motorhead ("Lick The Knife").

Prowling Death Squad EP, 1988

Vibrations of Doom

PROXIMA CENTAURI (USA)

Based on the full-length, these lads deliver dark minimalistic old school power/thrash whose both melodic and technical flair are nicely carried by the diverse roller-coaster "Sacrificial Slaughter", the brooding anti-climactic "Batman" sounding like an extension to the clumsy one-dimensional 10.5-min pageant "Imminent Extinction". The energy completely disappears in the second half, the band waking up for a few more dynamic rhythms on "I Own Your Mind", the playful riffage of "The Dementia Extradition" saving the album from sinking fully, which can't be said about the weak synthesized semi-declamatory vocals that annoyingly trudge in the background.

Star System Meltdown EP, 2023
Freedom at a Price Full-length, 2023

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PROZAK (ARGENTINA)

Quite good 80's thrash with hardcore tendencies, but not very fast or intense, with catchy riffs, melodic hooks, even genuine technical elements (the opening riffs on "Tortura"). Power/heavy metal tendencies sneak through ("Circo del Horror"), but they only nicely add to the overall jolly mood, especially when they come accompanied by cool speed metal outbursts ("Pogo, Ronda, Mosh").

Circo Del Horror Demo, 2008

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PRYPIAT METAL (SPAIN)

Modern power/post-thrash with catchy bouncy motifs (“Agony”), the welcoming pleasant grooves of “Castigo” nicely accommodating the listener, the confrontational quarrelsome vocalist changing into a cool clean croon on the semi-balladic “Hipnosis”. There are no strives at anything energetic here, just melodic mid-paced groovisms which ironically try to break a more dynamic ground on “Silencio”.

Eonia Full-length, 2023

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PSALMS OF SILENCE (USA)

Based on the debut, this act pull out modern melodic death/thrash which crosses the Gothenburg school with more laid-back power/thrash arrangements. In the vocal department another blend is witnessed, between gruff death metal and clean passionate ones the amalgam not always convincing, but facilitating more serious, progressive outtakes like the Oriental-induced "Empire" and the varied, but mostly semi-balladic "Under the Whip, Pt. 1". In fact, really hard thrashing is hard to come by here if we exclude a few more brutal moments on "Under the Whip, Pt. 2".

Psalms of Silence EP, 2017
In Silence There Is Truth Full-length, 2018

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PSICONAUTA (BOLIVIA)

Surprisingly intelligent progressive retro thrash coming from this very untraversed place on the metal map; a lot of infectious melodies fly around, seamlessly merging with the more intense thrashing moments those missing from the more elaborately-woven compositions ("Gilgamesh"). The title-track and the encompassing 11-min saga "Fantasma" are fairly interesting varied takes on the progressive thrash idea with a lot of twists and turns, the composed mid-ranged clean vocalist assisting the soundscapes in a semi-attached, not very emotional manner.

Nemesis Full-Length, 2018

PSICOSIS (CHILE)

Swedish thrash/death metal hybrid made in Chile; this is a really good band sounding like a more technical version of Dark Tranquillity.

Hate Regressions EP, 2002
The Crippled Machine that moves the World Full-length, 2004

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PSILOCYBE (USA)

Based on the “Rhythmic Slaughter” EP, this is a very eclectic surreal progressive thrash that also freely borrows from other genres, like the discordant hardcore additives on “Diary of a Misanthrope”, an impetuous modernizer with nice delectable leads and by all means the excellent emotional female vocals. “Deamons” is a fast-paced thrashcore séance with bizarre fusion etudes, and “Space Sorceress” is a volatile jump-arounder which flows into the short spastic “Soul Eater” and the more brutal proto-grindy “Trash Can Kitty”. Some of the band members earlier played with the very short-lived progressive thrashers Xenophile.
The “Dementor of Dreams” EP is just three tracks, “The Plague” being a moshing elaborate thrasher with blistering corrosive riffs; and “Victim Propaganda” is a short contrasting “ballad vs. thrash” combatant, laying the ground for the arrival of the serious galloping delight “Duende de la Muerte”, the second half branching out into wilder death metal canvas with an imposing doomy finale.
The self-titled EP is a true revelation, the hectic multi-layered “Transience” sending the listener all over the spectre, from wild impetuous thrashing to quiet jazzy sections, to spacey post-core vistas. “Red” is a jolly optimistic crossover piece with playful flamenco motifs and sterile moshing riffs, those turned to furious thrashing crescendos on the brilliant puzzler “Sirius Delirium”, arguably the band highest achievement with the sudden twists and turns and virtuoso lead sections. Welcome also the more stripped-down death metal skeleton of “Cosmic Perversion” and the moody morose pseudo-balladisms of “Psilocybe”.
The full-length is a near-consummate expression of the progressive/thrash idea, the guys (and a girl) raising the entangle drama sky-high from the very start with the varied saga “No Life Left on Mars”, an energetic compendium with lethal sharp riffs ruling over the intricate proceedings. Later on laid-back fusionisms (“La Sirena”), atmospheric doom/thrash combinations (“Elements of Oppression”), concise tech-thrash exercises (“Voices & Faces”), and funky thrashing oddities (the very appropriately-titled “Funky Thrash”) pepper the landscape, making the audience guessing till the last number as to how the plot will turn out, the jumpy eccentric rifforama “Cryptic Ways-Dolores Dread” whole-heartedly supported by the strange “Strange Place”, a psychedelic thrasher with beautiful spacey motifs circling around.

Rhythmic Slaughter EP, 2016
Dementor of Dreams EP, 2018
Psilocybe EP, 2019
Strange Place Full-length, 2023

PSONEN (USA)

This is dark brooding classic black/thrash that relies on sprawling mid-paced compositions, the galloping vigour of "Snake Charmer" well noted, also influencing the more dramatic developments on the black metal-ish "The Clearing". "Winds from the North/Hammer and Anvil" is a sweeping epic with curious enthralling melodies, and "Talons" follows a similar path with a stronger doom flair. The singer is a passionate blacky rasper, and his rending antics additionally bring the winds of black into the foray.

Take Shelter EP, 2020

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PSORDID (SOUTH AFRICA)

Modern thrash with gruff death metal vocals; the music sticks to volcanic steam-roller riffs, but there's romanticism (the ballad "Conform to Your Reflection") to be savoured among the punishing seismic rhythms. Those same rhythms don't change throughout remaining unbearably heavy with dark doom overtones permeating most of the songs, creating a somewhat depressing aura.

Bekhor Full-Length, 2016

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PSORIASIS (FRANCE)

Very good technical thrash/death metal, fast and intense, similar to mid-period Carcass, but the guys' bigger experimentalism jumps out on the longer tracks ("Draining Out", which winds like a snake through several moods and tempos), and their style is perhaps more jumpy and less predictable, like on the diverse "Human Testing" which suddenly moves from very aggressive sections to peaceful balladic ones. The typical for the Brits grinding parts aren't many at all ("A Cannibal Inside" and "Cranial Gangrene" come to mind being very brutal takes on technical death/grind, and parts of "Furuncles and Boil"), and the rest is either more thrash ("Great Order of Decline"), or more death ("Fisting Dick")-fixated as the technical edge never gets lost maybe only on the direct bashing "Furuncles and Boil". "Let There Be Rot" is a stylish exit from this very satisfying effort being quite an intriguing technical affair starting as a furious technical death feast before taking a much more controlled direction, transforming into vortex-like thrash ala Coroner and Deathrow, with the outro being high-octane doom riffage.

Lethal Treatment Full-length, 2009

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PSORIASIS (GERMANY)

Based on the debut, this band pull out modern power/thrash which is not as groove-laden as it may seem at first listen. Friendly rockers ("Purity") take turns with more entangled speedier walkabouts ("Hypocrit"), the unadulterated vigour of "Front-Page Addicted" pairing well with the vivid hardcore clout of the short "Front-Page Addicted". The shouty semi-clean vocals emit enough passion to be considered an asset, and their involvement by all means gives this showing bigger merits.

Psoriasis Full-length, 1997
Saucer Full-length, 2001

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PSYANIDE (USA)

This is bashing thrash of the raw, not very rehearsed type with borrowings from crossover, Motorhead, and speed metal (the optimistic galloper "Nuclear Winter"). The sound quality isn't great, and the guitars hiss and fuzz at will creating quite a bit of noise in the process. The singer isn't that bad, though, and his high-strung antics could even pass for singing for most of the time.

Mind over Splatter Full-Length, 1991

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PSYCHIC PAWN (BRAZIL)

The demo is 3 songs of forceful semi-technical thrash/death metal with Morbid Angel (including attempts at the latter's legendary backward play) an obvious influence although the music here is never too fast, and the leads are particularly stylish with Shrapnel overtones, even recalling the wild technical shred of the Russian virtuoso Valerii Gaina (Kruiz). "Perils Of Deformity" is probably the highlight, a potent mix of raging lashing riffs and contrasting slow doom ones. The guys suddenly switched onto much more melodic power metal later in the 90's with their new formation Born of Fire.

Wake of Entity Demo, 1992
Decadent Delirium Full-length, 1994

PSYCHIC POSSESSOR (BRAZIL)

This band easily stood out of the pack of Brazilian thrash metal bands in the late-80's. "Toxin Diffusion" was a smasher with its furious mixture of brutal thrash/death metal ala Sarcofago and Vulcano and some great thrash/crossover. The follow-up is a big disappointment, though, with the thrash/death elements completely gone, and the band settling for blatant mid-paced hardcore with very few traces of metal, not too far from the early works of Ratos De Porao, but not nearly half as good. It's really sad since the band have shown so much promise on their first album.

Toxin Diffusion Full-length, 1988
N+s Somos a Am+rica do Sul Full-length, 1989

Vibrations of Doom

PSYCHICTHROB (CANADA)

This band was formed by Steve Cloutier who later pulled the strings in the technical death metal monsters Gorguts. Based on the "Bursting Dementia" 4-song demo, the style here is thrash metal with touches of death, and these guys pull out awesome heavy, and at the same time technical, riffs which result in a very intense sound. In the faster sections comparisons with Atheist are inevitable, but the music offers much more. Such heavy technical music isn't easy to compare; probably the Infernal Majesty debut without the speedy parts would be a distant reference point. Cloutier does a great job on the bass, but the others are by no means worse. With technical metal having always been highly regarded in Canada, it's a complete mystery how this band remained just an underground phenomenon...

Advanced Tape Demo, 1990
Bursting Dementia Demo, 1991

PSYCHO (CANADA)

Based on "From the Asylum", these folks specialize in melodic merry-go-round old school speed/proto-thrash which is very close to the style of their compatriots Dogs with Jobs, so don't expect very aggressive music here "Aggressive" being the more intense piece here the rest present just for the fun of it. The vocalist is a cool clean throat who assists the music well, albeit not very adventurously.

On the Loose Full-length, 1988
25 Years and Still Alive EP, 2010
Sickx EP, 2015
From the Asylum Full-length, 2016

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PSYCHO (SPAIN)

These Spanish "psychos" deliver cool classic speed/thrash with more developed longer compositions in various tempos which culminate on the excellent diverse opus "God Against God" in the middle where the guys unleash a tornado of fiery riffs and fast paces the latter seldom disappearing from sight. On the other hand, we have more sleepy semi-balladic variations ("Demons"; the super-long 12-min sprawler "Requiem" which is partially saved by the great melodic leads) the level going up for one last temptation on the closing "Blest Dead" which shred with more passion making this effort an uneven, but frequently entertaining, listen with good attached semi-shouty/semi-clean vocals.

Mankind Disease Full-Length, 2013

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PSYCHO (SINGAPORE)

This young Singaporean outfit offers pretty decent old school thrash metal with scary witch-like vocals. The album starts in a relatively calm mid-paced thrashy pace, until "Meat Slit Grinder" which arrives with brutal death metal blasts in the beginning. Shocking moments of the kind, however, aren't many at all the folks preferring to play in the aforementioned steam-roller mid-tempo casually adding the odd technical flavour ("Revenge Of The Raging Whore"). Near the end the approach becomes more intense with references to doom/death on the last three songs where the guitars start to really crush coming close to the formidable battle approach of Bolt Thrower.

Pain Addict Pigs Full-length, 2011

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PSYCHO BITCH (USA)

The "psycho bitch" in this case is more crossover-oriented finding its place between Hellbastard and Leeway the nice phenomenon here being the stylish melodic leads which have been given quite a space to impress. The vocals are really brutal death metal-ish not really matching the inspired thrashy riffing which at times finds it hard to make its "voice" heard among the prevalent lead-driven barrage. The demo is whole 11 tracks long, and although the average song-length is just above 2-min, one would hardly be bored with this frolic reminder of the glorious genre's past which can actually be viewed as the continuation of the short lived formation Thrash Forward who released two demos in the mid/late-80's.

Puking Blood Demo, 1993

PSYCHO CHOKE (GREECE)

Based on the EP, these guys offer melodic post-thrash with a more angry (End of My Kingdom") at times, but also alternative edge the latter also coming from the cool clean mid-ranged vocals which are intercepted by much more aggressive semi-death metal ones on some songs. "Darwin Breed" at the end speeds up with an abrasive hardcore shade.

"Unraveling Chaos" is a better affair, more aggressive and dynamic, although the overall approach is again in the post-thrash camp, supported by the vocal "duel" already familiar from the previous efforts. There are scattered up-tempo moments to be heard, but most of the time the music bears no surprises being heavy, groovy, and occasionally jumpy.

"One Mind Less" is again a tad more aggressive at least in the beginning, but the sudden mellower alternative breaks are unexpected, and stifle the harder riffage quite a bit. The second half drags deplorably with a lot of unimaginative groove present. The vocals now are strictly in the shouty death metal camp, the clean ones barely heard at all.

Choke On This Full-length, 2002
One Mind Less Full-Length, 2005
The Last Moments of Absence EP, 2007
Unraveling Chaos Full-length, 2010
One Mind Less Full-Length, 2012

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PSYCHO DEMENZ (JAPAN)

A 2-song demo: "Death Desire And Ruin" is a dark intense thrasher in the Deathwish vein whereas "Confusion" is a more aggressive piece in the spirit of early Pestilence. The vocals are death metal-ish sounding like a lower-pitched version of John Tardy.

Demo 1 Demo, 1989

PSYCHO MANIA (GERMANY)

Based on the full-length, this trio play "psychotic" thrash/crossover with carefree punk-ish attitude, more on the second half, and cool melodic insertions at every opportunity. The guys keep the hyper-active approach intact throughout with vivid roller-coasters like "Burning Down" and "Subliminal Brainwash", the vocals being a bit harsh for the style with an inebriate, shouty blend. "Maimed Humanity" would be a big surprise, a heavy semi-balladic pounder with a few faster-paced accumulations, and "Crysis" is a nice stretch towards purer thrashy execution, aptly supported in its cause by the early Metallica-worship "Take a Walk", and the final "Awkward Assembly", an unexpected turn to visionary progressive thrash ala Blind Symphony with great Oriental melodic hooks and quite a few tempo changes, a really fine finale to this eventful contrasting, but all in a good way, recording.

Demo-EP Demo, 2016
Subliminal Brainwash Full-length, 2017

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PSYCHO MESSIAH (CHILE)

Psychotic weird stuff indeed, heavy modern post-thrash which becomes creepy and semi-technical ("Lo Siniestro") on occasion, but for the most part this is too eclectic for the average thrash metal fan to appreciate fully, the progressive multifarious extravaganza "Visiones de Inframundo" befuddling the listener with choppy rhythms, outlandish female vocals, angular time-signatures, that eccentricity not covered that widely elsewhere, the 2-part "Examine" saga betting on diversity as well, the more linear gallops on the closing "A la Sombra de los Cuervos" a pleasant exiting gimmick, the husky shouty semi-death vocals standing for an assistant status but not much else.

Exanime Full-length, 2021

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PSYCHO SYMPHONY (ROMANIA)

This is very eclectic progressive thrash which sounds like a mix of Mekong Delta, Voivod and Psychotic Waltz; another very close soundalike would be the Japanese avantgarde thrashers Doom. Despite the many abstract and dream-like moments, the music delivers the goods most of the time as the band never forget that above all they are a thrash metal band, although this is not a moshing material, and the music is mid-tempo to slow, with the exception of "Shadow of Life", which is more intense and straight (well, this is very relative here) number, which still has a very complex technical break in the middle where great bass work can be heard (the bass performance is generally very good on the whole album). The songs, as expected, are long, with loads of moods and time-changes; the last song "Reality Falls", which is two parts, and is more than 11-min long, is a symphony of surreal atmospheric progressive music with sparse participation of thrash, but quite interesting and unusual. The vocal participation is equally as outlandish the guy providing a dispassionate clean timbre which doesn't change throughout, a composed dark wave-ish approach to singing that works just great on the avant-garde, non-conventional canvas. Very non-conventional surreal riffs and almost absurd, but very listenable song-structures are featured all over this work; recommended to those who prefer to fully concentrate on their music.

The EP is another very weird effort. It's only two songs, the first one "Strange Illusion" being shorter, but very intricate and sinister, even including quite cool fast-paced headbanging elements among the numerous surreal abstract passages; as expected, there's so much to be heard here that everyone should listen to it for himself. "Purple Coloured Kingdom" is a 12-min "symphony" of "psychotic" progressive thrash, creepy and doomy, with echoes of Mekong Delta and Psychotic Waltz, with hard-hitting riffage present as well; the peaceful dreamy interlude is a bit overlong, but wait till you hear the twisted jazzy tunes which follow after, and the technical break ala Coroner near the end. Then more aggression comes before the minimalistic doom-fixated thrash riffs wrap it up nicely. If one wants to listen to really non-conventional progressive avant-garde metal, this is one of the best choices he could make (make sure to check the Italians Garden Wall as well). But one has to be prepared for this...

Silent Fall Full-length, 1997
Schizoid EP, 2002

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PSYCHODEATH (USA)

Two guys, who also had another band at the same time called Ferocity (not reviewed here), provide brutal Slayer-esque thrash metal with frequent heavier insertions ala early Celtic Frost the latter descending to doom here and there. The sound quality is pretty raw, and the singer growls in a terrible drunken, very unintelligible, way.

Final Expiration Demo, 1989

PSYCHOID (FRANCE)

This young French batch try to establish themselves as trve advocates of the classic thrash idea, and not only with their works' titles. The band know their craft pulling out moshing with hard razor-sharp riffs surprisingly keeping the proceedings immersed in the mid-tempo perimetres with abrupt outbursts (the galloping "TV's Grime") of intensity. "The End of Times" is a curious melodic all-instrumental variation with overt progressive pretensions, and "Out of Control" is the other place where things get "out of control" with less bridled, more aggressive guitars. The vocalist is a high-strung semi-clean semi-shouter who keeps the emotions high without attempting anything too adventurous.

Thrash Impact Full-length, 2018

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PSYCHOMANCER (USA)

Based on "Butchered": this is quite a worthy mix of thrash and death metal of the more classic type which might remind of Deicide on the more brutal parts (not too many). On the more technical sections another Floridian band comes to mind: Morbid Angel. Hey, this isn't full-fledged death metal; there are enough thrashy riffs to keep you interested: "The Hessian", "Eternal Nightmare". The vocals are of the dual variety: think early Carcass, low-tuned brutal ones and mean crow-like snarls.

(Si-Ko-Man-Sur) Full-length, 2001
Butchered Full-length, 2007

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PSYCHOMANCY (USA)

A trio from Ohio who specialize in jumpy groovy post-thrash with unheralded outbursts of hardcore rage ("Here I Am") and even less expected exercises in more progressive layouts ("Release Yourself"). Short quirky, funky instrumentals like "Shake Your Ass" further break the prevalent orthodox nature of this recording, but this isn't enough for one to escape the abrasive "Biohazard meets Helmet meets Prong meets Rage Against the Machine" siege.

Gein Full-length, 1996

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PSYCHONAUT (AUSTRALIA)

Based on "Shock em Dead!", this act offer jolly optimistic old school thrash/crossover with modern post-thrash and grunge overtones. The delivery is too mild and radio-friendly for most the time, and the speed applied initially gets lost way before the end. So the hard-core thrash metal fan will turn the player off way before the end... and for a good reason.

Masters of Procrastination Full-length, 2004
Shock em Dead! Full-length, 2012

Official Site

PSYCHONAUT (USA)

Three songs of not very well constructed messy thrash which is vigorous barrage for most of the time the delivery recalling Anthrax at their less proficient the screamy leads leading the pack along with the attached semi-clean mid-ranged vocals which have a good sense of melody at times, something which can't be said about the bashing musical landscape despite the bassist's efforts to make the approach a bit more stylish with his constant supplements.

Demo Demo, 1991

PSYCHONAUT DEATHTRIP (USA)

This formation specialize in intense lashing modern thrash/death which can also be heavy and stomping ("Infected") on demand, but the guys' real power lies in the fast-paced moments ("Black Rabbit of Death") where they thrash with no remorse which, unfortunately, happens not as often as the steam-roller sections which smell groove sometimes more than what the good taste allows. The vocals are angry and quarrelsome with a forced shouty death metal tinge.

Killuminati EP, 2011

Official Site

PSYCHOPATH (MALTA)

This is just a one-man parade, the alias Chaos, which is built around the classic speed/thrash hybrid with evil black-ish atmosphere also provided to support the hyper-active soundscapes with Chaos serving an intense shouty black metal timbre to enhance the "idyll". Said idyll will remind of the Portuguese Alastor and the Swedes Craniium, the crossover gimmicks on "The Vile Invention of Christianity" loosening the delivery a bit, but please run for cover on the brutal black outrage "Teratogenesis" and the death-laced roller-coaster "The Purpose of the Pit". More hyper-active surprises later with the proto-blasting "Tsar Bomba" Chaos diversifying his palette quite a bit in the second half, looking for other stylistic nuances to get the message through.

Teratogenesis Full-length, 2020

Official Site

PSYCHOPATH (POLAND)

Based on "Avaritia", these Polish "psychopaths" provide a contrasting blend of clever semi-technical cuts and much more immediate shorter explosions. The resultant cocktail will take time to settle in since the changes are too abrupt for the regular fan, but the latter will have a lot of fun with raging thrash/deathsters around, like "Sentenced to Thrash" which is more of "sentenced to thrash/death" with the "death" part taking a bigger space later on, making cuts like "Constant Agony" sheer death metal ragers. "The Point of No Return" at the end is a surprising melodic instrumental which mixes hard riffage with breath-taking melodies on a mid-tempo background, the highlight here. This isn't a very even mix which with a more serious attitude in the future could grow into something more substantial.
The debut is "compulsive" classic thrash without too many gimmicks. The guys lash out in a pretty wild fashion with death metal standing by to step in at the right moment (the vocals are also in the death metal camp). There's no remorse shown anywhere except for a short while on the 2-min "Instrumental": this is a thrash attack of a fairly high calibre before the band became enchanted with the more technical side of the genre as evident from their sophomore effort, for better or worse.
"Hatred Outside" exudes "hatred" from both "inside" and "outside", and as such should leave the fans satisfied who will have plenty of opportunities to jump around on major neck-sprainers like the title-track and the death metal madness "MK Ultra". The approach is consistently fast and remorseless with technical flourishes ("Killing Hunger") again showing a more proficient side which again remains only partially realised due to the guys' desire to bash to oblivion reaching hardcore dimensions on the closing rager "Dead End".

Compulsive Submission Full-length, 2009
Avaritia Full-length, 2010
Hatred Outside Full-Length, 2015

Official Site

PSYCHOPATH (USA)

The full-length: quite good technical death/thrash metal quite reminiscent of Coroner (the magnificent technical number "Without a Clue" would fit even onto "Mental Vortex"; it actually resembles quite a lot a track from that album: "Semtex Revolution"), only more death metal-fixated at times ("Altered Minds") when the approach comes close to Atheist's "Unquestionable Presence" and Hellwitch's "Syzygial Miscreancy". The guys mix the tempo nicely: at times we have very choppy and technical rhythms ("Metro-Shock"), at others the music speeds up although it seldom reaching any extreme aggression-like perimetres (parts from "Performing A Self-Discovery"), both well presented on the album closer "Crystal Clear". There are sinister atmospheric moments as well as spacey acoustic ones, but they intertwine with the sharp technical riffs just fine, and the overall sound has this dark quality also typical for other acts like Revenant, Assorted Heap, etc.

The "5-Song Advance" demo is an excellent jumpy modern affair with plenty of atmospherics, strictly in the modern thrash camp in a way not too far from Aftermath's "Eyes of Tomorrow", maybe a tad less dynamic. Certainly, shades of Coroner's "Grin" inevitably come to mind, and some intriguing technical groove can be heard on "Counterparts" which nicely turns to a shredding mechanical headbanger in the second half. The final "Shadows That Stretch" is the only true link to the band's heritage moshing in a sure-handed classic fashion sounding like a leftover from Coroner's "Mental Vortex". It seemed like a fairly good set-up for a promising entry into the 90's trends, but the band disappeared without a trace leaving a small, but definitely worth checking out, legacy behind them.

The Soul Personification Demo, 1990
Making The Transition Full-length, 1991
5-Song Advance Demo, 1992

PSYCHOPATHIC TERROR (FINLAND)

A classic mix of thrash and death metal, done by just two guys, quite fast reminiscent of the Protector works of the 90's, but with a more simplistic guitar work. The vocals are pretty much in the vein of the aforementioned band; the guys take a break from their relentless style only once: on the mid-paced stomping number "Dead Man Walking" which will remind you of recent Bolt Thrower. Before forming this act, the musicians were known under the name Depravity in the early-90's when they released a couple of demos and EP's of classic death metal.

"230204" is pretty much in the same vein if we exclude the harsh abrasive guitar sound. The faster material now is pure death metal again staying close to Protector and the early Swedish school (Unleashed, Entombed, etc.), whereas the slower numbers are vintage mid-period Bolt Thrower full of steam-rolling battle-like riffs. Both sides are mixed almost song by song to produce a nice tribute to the old school with a boosted modern production.

"Revolt" would be quite a shock to the band fans: the convincing old school delivery has mutated into pure industrial thrash with synthesized guitars, techno/electronic moments, atmospheric inclusions ala Front Line Assembly, etc. As a work of modern art it delivers almost as good as Skrew and Ministry at their best, but its value to the retro sound is practically zero...

Fucker Full-length, 2006
230204 Full-length, 2008
Revolt Full-length, 2011
4:You Shall Not Destroy Full-length, 2013
War Against the Global Maze of Tyranny Full-length, 2015

My Space

PSYCHOPHONY (SPAIN)

Based on the "Paradise of Souls" demo, this is classic thrash/death which isn't the most polished listen in the world, the hollow-sounding drums just one of the several obstacles on the listener's way. The "Paradise of Souls/Across the Gates of Time" combo is a dark atmospheric ride with multiple twists and turns, and "Eternal Dark" is a choppy technical proposition more boldly bordering on death, the guttural semi-shouty death metal singer helping quite a bit in this direction as well.

Paradise of Souls Demo, 1995
Psychophony Demo, 1997

PSYCHOSHOCK (MEXICO)

A more modern mix of power and thrash which also has a carefree crossover sting, the latter surprisingly accentuated on the longer material ("Muerte Roja"). "No Desaparezcas" is a more ambitious progressive cut with cool balladic deviations, a tendency which runs throughout the album, also reflected in the more energetic "Sin Piedad" and "Taxidermia". The vocals are hoarse quarrelsome semi-shouty ones, but fit into the energetic optimistic melee.

PsychoShock Full-length, 2018

Official Site

PSYCHOSIS (USA, LOS ANGELES, CA)

A noteworthy slab of classic semi-technical Bay-Areasque thrash akin to mid-period Accuser, early Testament and Mordred's debut; there are only six tracks on offer here, but this is more than enough for the guys to shatter the groovy/aggro/grungy order in the early-90's. The sound is very riff-based and will delight you with its spontaneous headbanging potential. The lead guitar work is less impressive, but it doesn't take too much room here as spectacular heavy shredding "monsters" like "Cycled Souls" and "Twist of Faith" will make you forget about any unmitigated shortcomings. The tempo is never too fast and stays more in the mid-paced sector with a couple of abrupt speedy accumulations ("Remain Blind"). The highlight of the album is the excellent "Cold is This God", a first rate progressive thrash riff-fest that was later re-recorded for the next formation the band members got involved with, the progressive metal wizards Prototype. The vocals are leveled, semi-clean, coming as a fusion of Chuck Billy and James Hetfield. The band disappeared the way they came up: unheralded, but with their name remembered, at least by those who spend time digging in the metal underground.

An underground legend rises with a short self-titled 3-song EP which shows them in a cool form lashing razor-sharp music crossing the modern and the classic school on a heavy mid-tempo base with shades of the Black Album, but hopefully on the eventual full-length release the band would be able to go further down the classic hole.

The "By Our Hand" EP is already a sign that the band aren't brave enough to venture into the full-length field although listening to the music on offer here, they should have no worries whatsoever. The title-track is a dynamic opener with sharp cutting riffs, and from now on things only get more interesting: "The Soon Dead" is a great technical piece with nice proficient melodic leads and although the remaining numbers are much shorter and much more immediate, this short effort has all the rights to be viewed as the dress rehearsal for the band's return album. The vocals aren't in the vociferous semi-hardcore camp anymore, but their attached antics fit into the intense musical picture which is just a few steps short of reaching the previous heights from the band's early days.

Lifeforce Full-length, 1992
Psychosis EP, 2010
By Our Hand EP, 2012

Official Site

PSYCHOSIS (USA, MI)

Based on the debut demo, these lads serve a power/speed/thrash hesitation quite reminiscent of the Hallows Eve and Destructor exploits. Short Slayer-esque bullets ("Killed in Comfort") also roam around freely next to long complex exercises on progressive metal ("Institutionalized", "Fluffy Bunny Boo") the latter having a somewhat dubious nature as the approach isn't exactly speedy or thrashy, strangely clinging towards the goofy, alternative and quasi-groovy in a weirdly visionary way. The vocals are mean spiteful, semi-clean ones, but by all means suit the diverse musical palette which is hard to categorize narrowly at times.

Trichotillomania Demo, 1990
The Barnyard Rehearsal Demo, 1990

PSYCHOSIS (USA, NASHUA, NH)

"Complex" is a waste of time, even for the 90's trends' lovers; it offers nothing but clumsy stoner/doom riffs mixed with rehashed groovy patterns on every single song; no deviation, no faster moments, just major boredom, only relieved (but partially) by the cool soulful Peter Steele (R.I.P.)-like insertions which intercept at times the main throaty angry vocals.

The debut is a bit better effort although it has already surrendered to the 90's fashions trying to sit somewhere between Flotsam & Jetsam's "Quatro" and the Pantera releases around the same time resulting in a pretty intense heavy sound with doomy overtones and shades of blues. The vocalist doesn't hide his fascination with Phil Anselmo adding a more lyrical, melodic note on occasion.

Squirm Full-length, 1993
Complex Full-length, 1996

PSYCHOSOMATIC (USA)

The debut: very good thrash/crossover similar to the Suicidal Tendencies' thrashier releases (1988-1990), and Excel. This is fast-paced energetic music with very occasional heavy stomping deviations ("Drunken") with a doom metal edge; great fun with short, 1-2min songs, and really meaty thrashy riffs.
"The Unquenchable Thirst" is more aggressive with an open hardcore edge at times and pure thrashing outbursts ("Electrocuted" which even blast-beats for a while). The short length of the songs remains as well as the cool mean-ish semi-clean vocals.

"Another Disease" is "another" addition to the thrash/crossover mill thrashing its way out with direct vigorous riffage with Slayer touched ("Despotic Leader", "Skaterade") on the more aggressive parts. The other material mixes slow and fast sections the purer hardcore passages now not so clearly heard. "Misery Mirror" is an odd doom-flavoured track, a pretty slow number by the guys' standards, but gradually building momentum to become an effective sleeper with an abrasive quasi-industrial flavour. The drowsiness will leave you big time on the following "Sociopathic Child" which is a short explosive proto-deathster. Bluesy doom comes served later on with "Stormbringer" to a slightly mixed effect since the guys betray their style once more. The last string of fast uncompromising blitzkriegers apologizes for those lapses, moshing out in a more stripped-down hardcore fashion.
"Clicking Sound Of A Hammer Pulled Back" is the staple for the band fast-paced mosher the guys thrashing with passion "mining" the field with short 2/3-min bombs which are straight and to-the-point seldom containing the odd semi-technical "Grand Mal Seizure") diversion the biggest surprise remaining the 5-min (!) acoustic instrumental "Downcast", a fair compensation for the carnage encountered earlier and a stylish touch nonetheless.
"The Invisible Prison" offers first-rate vigorous moshing thrash to the bone, the thrash/crossover optimism of "Riot Squadron" nicely contrasting to the more technical veneer of the shredding delight "Schizophrene". More crossover joy with "Agents of Surveillance" and "Labyrinth", but this is more cleverly-performed stuff with intelligent riffage and a couple of cool stylish melodies. "Pandora's Crate" slows down with heavy pounding rhythms, but watch out for the explosive technicaller "The Invisible Prison", a smattering showdown which alone certifies this recording's golden status.

Tales Of The Unbelievably Cheap Full-Length, 1999
The Unquenchable Thirst Full-length, 2006
Another Disease Full-length, 2010
Clicking Sound Of A Hammer Pulled Back Full-Length, 2015
The Invisible Prison Full-Length, 2020

Official Site

PSYCHOTHERAPY (CZECHIA)

This band play rough abrasive modern post-thrash which combines sprightly energetic roller-coasters (“CentryFuge”) with carefree mid-tempo strolls (“Diagram-Heart-Failure”), the lyrical balladic digression on “Psychotherapy” giving the dispassionate semi-clean vocalist to display his more passionate side.

Destiny Demo, 1996

PSYCHOTIC EYES (BRAZIL)

Based on "I Only Smile Behind the Mask", this Brazilian outfit indulges in fairly intriguing melodic progressive death/thrash with loads of catchy melodic hooks, some of which are simply addictive to listen to. The shadow of later-period Death can definitely be felt although this is mostly thrash with probably just the vocals belonging to the death metal camp being mean-ish with a harsh semi-black blend. The compositions are all elaborate listens with plenty of mood and tempo changes not far from Anacrusis even, with several lyrical moments artfully embedded, and again numerous melodic lines which will never bore the fan who shouldn't expect too much speed present, but mostly directed mid-paced meandering of the beautiful, dreamy variety. The final "The Girl" is a cool progressive cut of the calmer, semi-balladic type, but overflows with emotion and atmosphere and could be viewed the highlight on this really strong effort.
The debut is another great release featuring the same appetizing elements present on the follow-up. The approach is a bit faster, but melody and technicality aren't spared anywhere. The title-track is a great minimalistic technicaller with echoes of Coroner, and "Black Lotus" shows how speed and technicality can co-exist without disturbing each other. But this isn't all since right after that comes "Carnage is My Name" which is a prime shredder in the best spirit of later-period Death. Twisted technicality and melody "marry" on the excellent puzzler "The Hand of Fate" which also comes epic-decorated. No time here for any more straight-forward sections, except maybe on the more deathly "The Logic of Deterrence" which in its turn arrives with the most stylish lead guitar work on the album. "Psychotic I: remember" is an engaging operatic closer, a nice atmospheric touch which only adds up to the unique character of this really cool work.

Psychotic Eyes Full-length, 2007
I Only Smile Behind the Mask Full-length, 2011

Official Site

PSYCHOTIC MEMORIES (NORWAY)

The self-titled: this band provide really good lashing hyper-active, vocal-less classic thrash that nails the listener to the ground thanks to unblemished violators like the title-track and the more complex semi-technical wonder “Screams from the Void”, the moshing urgency of “Guided by Unstable Minds” leading this lofty pack which also features the intricate twists of “Redemption Denied” and the delightful melodic deviation of the short breezer “Brute Force”. Bigger complexity arrives on the equally vehement “Dead Bodies Aligned”, the same trend followed by the diverse razor-sharp riffage of the final “Suicide Note”.
"Death Halts The Rise" is a more restrained fare, the steady mid-paced march "When the Flames Die Down" largely focused on memorable melodies, the more dynamic melee stirred on "Crossing the Threshold" a desirable occurrence, especially when not much happens in the speedy department, excluding the semi-stylized restless pummeling unleashed on "Beyond the Fractured Mind". The title-track is a more encompassing epic with a wider variety of riffs and moods, its far-reaching lustre cancelled by the more immediate bashing of the closing "Annihilation".

World Annihilation Full-length, 2021
Let the Bodies Pile High Full-length, 2022
Psychotic Memories Full-Length, 2023
Death Halts The Rise Full-Length, 2024

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PSYCHOTIC PULSE (CANADA)

Three songs of intense, but melodic, modern Gothenburg thrash/death metal; the music is fast with several slower deviations and quite cool melodic lead guitar work. The influences are as follows...

The full-length debut bears no surprises offering the same modern thrash/death metal hybrid the major complaint being the very noisy guitar sound and the unpleasant shouty vocals which create quite a mess from which not much can be deciphered and consequently appreciated. Oh, the leads are quite intelligible and aren't bad at all saving this album from sinking completely. There's a certain industrial vibe running through the songs, and allusions to Fear Factory and even the Australians The Berserker are inevitable on the more aggressive moments.
"Opposed" contains no surprises the guys moshing in the familiar noisy manner, the main difference being the more rigid, more mechanized guitar sound that will strongly remind of Meshuggah ("Forced into a Woodchipper", "The Order of the Emperor") at times. A few more flexible headbangers like "Hiroshima" and the death-bound "Millenium Blood-Sport" will definitely stir the blood, but there's very little that hasn't been heard or done so many times before.

Handcrafting the Apocalypse EP, 2010
Psychotic Pulse Full-Length, 2013
Avolition EP, 2013
Opposed Full-length, 2018

Official Site

PSYCHOTIC WALTZ (USA)

This legendary progressive metal band used a strong thrash base in their beginnings, better expressed on the excellent debut. "And The Devil Cried" after all these years remains one of the finest progressive thrashers, a dark complex song with its steel technical riffs, creepy, haunting tunes, and jumpy, sudden time-changes. Although this track is the album's highlight and the most aggressive one, the rest is by no means less striking: the multi-layered dark "Another Prophet Song", featuring one of the finest performances of Buddy Lackey; the doomy crushing "Halo of Thorns"; the magnificent ballad "I Remember", with Lackey again in top form. The guys create a unique sound, heavy and mid-paced with numerous vortex-like passages, starting out of nowhere, suddenly turning into a more direct one which is followed by a more atmospheric slower, almost doomy, section: check out the great labyrinthine "In This Place", or the superb intense (no pun intended) thrashing "Intense" with some of the finest spiral-like leads around. This is one of the undisputable masterpieces of progressive metal which made it impossible for the guys to ever produce anything better.

"Into the Everflow" is not even close to the debut. Intense thrashing elaborate pieces like the chaotic, but utterly compelling "Out of Mind" are truly impressive, but aren't too many; they're actually placed in the beginning ("Tiny Streams" is another technical, head-spinning piece) leaving the rest of the album hanging in the air. The title-track is a quiet dreamy balladic progressive track, quite good, but are we talking metal here? "Little People" restores the faith with more aggressive riffage, but is far from the examples from the beginning. "Butterfly" is similar to "Into the Everflow", but at least the guys here insert more edgy guitars. Still, it shows that the band have moved on and their later works have no ties to thrash although they remain some of the best moments from the progressive metal arena.

A Social Grace Full-length, 1990
Into the Everflow Full-length, 1992

Official Site

PSYCHOTIKATZ (USA)

Based on the "Death Sells" demo, these folks specialize in old school semi-progressive thrash which comes with delectable surreal edge on the volatile "Unhappy", the ambitious multifarious saga "Death Sells" offering quite a bit to the curious listener, the latter pulled back by the lyrical clumsiness of the overlong "Golden Gate". "Turn to Me" is a straight-ahead mid-paced thrasher, and "Screaming Inside" is a stomping tribute to the Bay-Area, the clean attached singer doing a good job behind the mike without trying anything adventurous.

Pagan Moon Demo, 1991
Death Sells Demo, 1992

Official Site

PSYCHOTRON (GERMANY)

One of the most promising German metal bands of recent times; their style is slightly progressive power/thrash metal not too far from Nevermore, but the guitar work often shifts towards straight Bay-Area riffs. The guys handle both the more direct thrashers and the more complex longer songs with dexterity. "Chaos Cosmic Time" opens in a marvelous way with the pounding technical thrasher "Psychotron", one of the band's highest achievements, but later on the album loses steam containing much less impressive ordinary progressive power metal tracks, falling down even to modern groove ("Eternal Stream", "The Raging Pit"). In the second half the quality song-writing returns for one complex power/thrasher ("Belief"), but the presence of two ballads: one- heavy, the other a pure acoustic piece, pull the final impression away from the positive scale.

"Open The Gate": four years later the band were ready to strike again, but this time they have done a much better job; from the very beginning this album starts thrashing with force and conviction (the title-track) with great sharp, but also technical riffs with a certain Bay-Area vibe (think early Testament and Forbidden, above all) again. The thrash attack continues unabated further on as the complexity increases little by little reaching its culmination on the progressive masterpieces "Closed Doors", which is a slower, more power metal-based, atmospheric number; and "Lightbringer", a striking dark power/thrasher, followed by another equally as impressive, shorter one: "Necromantia". Having finished their job so well, the guys relax on the album closer which is an 8-min haunting acoustic instrumental, partly spoiled by the drunken attempts at singing made at the end.

After such a strong effort, a well-deserved break would be natural to follow suit, but the guys were ready with another stellar material less than a year later; "Pray For Salvation" follows a path similar to the previous album, but the music isn't as fast and energetic, but is more complex, and the riffs lash with the same intensity, as separate compositions are superior to the previous output: the dark technical power/thrashterpiece in the Nevermore vein "Chasing Shadows", the mighty technical thrash metal opus with an Oriental touch "Circle of the Damned", the brooding doom "The Awakening", the intense speed/thrashing delight "Life on Borrowed Time". The end is again preserved for something more quiet: the ballad "Shattered Illusion". If Courageous, the other German band who used to play a similar brand of metal, have failed to please the fans with their more recent works, this band, on the opposite, are going stronger and stronger...

Chaos Cosmic Time Full-length, 2000
Open The Gate Full-length, 2004
Pray For Salvation Full-length, 2005

Official Site

PSYCHOTRON (POLAND)

Based on the full-length: angry heavy 90's post-thrash which is pretty intense for most of the time the intensity dissipated at times by stylish melodic leads to a positive effect ("The Caravan"). Occasional displays of bad taste aren't spared (the awful funky/rap "atrocity" "Ponoc"), but the headbangers, on the other hand, will be stunned to hear the brutal neckbreaker "Black Angel" at the end. The guys started their career under the name Slaver when they played speed metal before moving onto thrash with their second formation Thrasher Death. However, any classic "remnants" from that band's sound are hard to trace here.

Violence Full-length, 1995
Perverse Tango EP, 1997
The Grave Doctors EP, 1998

Official Site

PSYCHOTRONE (SWEDEN)

The debut: modern-ish thrash which zig-zags between atmospheric, near-doom propositions (the opening "My Funeral") and livelier speedsters ("The Slumber"), with gothic/doom crossing thrash on a few more ambitiously-woven numbers ("The Rapture", "The Reaper of Souls") the rough semi-clean/semi-death vocals readily accommodating those darker nuances some of which will recall mid-period Cemetary.
"As Dark Souls Watch": a second full-length just a few months after the first showing; a productive bunch for sure who stick to their chosen guns with active headbangers ("Enter Darkness") and more elaborate mid-paced anthems ("This Planet´s Burning"), both sides taking turns leaving room for a couple of more moderate heavy/power metal cuts ("Dead World"), the element of surprise steadily disappearing by the time of the frolic speed metal closer "Mental Decay".

Eternal Torment Full-Length, 2019
As Dark Souls Watch Full-Length, 2019

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PSYCKOPHONY (MEXICO)

Based on "Before the Winter", these folks epic/pagan retro thrash, at least in the first half, recalling the Dutch Bifrost and early Skyclad the latter also "courted" in the vocal department with good hoarse, semi-clean tirades. The title-track is an awesome folk-ish shredder fitting well the more aggressive material like the shorter headbbangers "Guardians Of Mankind" (you have to hear the gorgeous leads on this one!) and the dramatic pounding masterpiece "Wrath Of Gods". "Reptiles" takes a hefty step back being a more ordinary power metal hymn with keyboard assistance; thhe bad news is that after this track the album takes a much more melodic turn towards the 90's power/speed metal movement drowning the second half in cheesy, "eagle fly free" riffage, making this album one of the more uneven efforts of recent times.

In the Eyes of the Beast Full-length, 2010
Masters of Fear Full-length, 2013
Before the Winter Full-length, 2016

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PSYCLOPS (HOLLAND)

This is decent modern thrash metal with industrial overtones which make the guitars too noisy at times. The approach is close to Swamp Terrorists and early Misery Loves Co. the guys thrashing really hard at times ("Future=History") without losing the catchiness anywhere. "Wrong Song" is a great steam-rolling thrasher, hardly the "wrong song" here, but "Not Yet" is hardly the best continuation of the "saga" being a soft balladic piece. "Never" after that rips like there's no tomorrow, and "Live Your Life" keeps the headbanging going which even goes up on the maddening "Pulverize". This is a perfectly acceptable piece of industrial music well conformed with the demands of this sub-genre without sticking to annoying non-music industrial landscapes too much even managing to keep quite a bit of melody along the way with entertaining high-strung semi-shouty vocals being a nice support.

The Psyclops Concept Demo, 2000

PSYCON9 (ITALY)

Modern 90's post-thrash which meanders through the numetal spectre by introducing either abrasive intense quasi-industrial pieces("Khalandra") or sincere attempts at some bashing retro thrash ("The Twilight of Dawn"), this latter side clearly the more attractive one, partially featuring the lengthy progressive twister "Martyrium". However, to these ears the most pleasant surprise remains the closing "Perpetual Return", a breath-taking ambient instrumental etude which would make even Jean Michelle Jarre proud, also missing the not very tolerable shouty hardcore vocalist. The guys were previously busy with the old school thrashers Ozawabeach and the progressive metal wizards Hypnotheticall.

Psycon9 Full-length, 2023

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PSYCOREPATHS (GREECE)

Three songs of dynamic modern post-thrash with sharp lashing riffs which don't cross over the mid-tempo (except for the beginning of "U Don't Get Ma Money" which is quite headbanging), but the consistent delivery pays off with a heavy monolithic sound ably supported by the typical for the style angry shouty vocals.

Your Entropia Has Arrived Demo, 2011

My Space

PSYCROPTIC (AUSTRALIA)

Quite a few death metal acts (Punish, Trepalium, Gojira, Alarum, etc.) have recently looked back in nostalgia towards the good old thrash for possible inspiration... here come the technical death metal behemoths Psycroptic to join this ever-growing cohort with their self-titled effort which sees them taking a break from their busy, intense death metal schedule. If one comes to think of it, the band cemented their reputations as the greatest death metal export from Down Under their sophomore effort "Sceptre of the Ancients", universally considered one of the ten finest technical death metal albums of all times.
A self-titled album either instigates a bold return to the band's roots or it's a sign of a new stylistic beginning. In this case we have the latter, a nice venture into thrash metal territory, a fairly appetizing offering which sees the masters able to handle more than one metal genre with dexterity. There's some death metal rage still left in them, though, as evident from the intense opener "Echoes To Come", a spastic metamorphic shredder which flows into the fast-paced technicaller "Ending". "A Soul Once Lost" is progressive acrobatics reminiscent of the guys' compatriots Alarum's last effort "Natural Causes", and "Cold" is more aggressive thrash/death with fast twisting rhythms which explode on the brutal shorter "Setting The Skies Ablaze". "Ideals That Wont Surrender" is more pensive, more moderate thrashism with virtuous melodies and sharp lashing riffs. "Sentence Of Immortality" takes it easy on the speed, and the final result is a dramatic spacey cut with echoes of more recent Mastodon, only more aggressive. "The World Discarded" is the epitome of technical thrash/death, a serpentine piece with constantly shifting time and tempo-changes, leaving the more linear delivery for the final "Endless Wandering" which still thrashes hard with serious intricate arrangements. Whether the band will continue in this direction, or this was just a subconscious experimentation is to anyone's guessing... regardless, the fans will always be eager to hear whatever comes out of the heads of these genuine metal auteurs.
"As the Kingdom Drowns" is another bigger orientation towards the good old thrash, the band still holding onto their acrobatic exploits of old, those nicely reflected in the opening "We Were the Keepers" where also an interesting atmospheric vibe can be detected. The hyper-active gallops on "Frozen Grace" co-exist with turbulent attempts at blast-beats, but "Directive" goes towards the other extreme with a laid-back mid-paced layout. The alternation between the two sides goes on with the speedy shredder "Deadlands", the title-track mixing both currents, leaving out the more brutal death metal colouring which is a debatable decision as this effort doesn't have the character of previous instalments, the guys going through the motions in a not very inspired manner, producing a fluctuating ride of moods and nuances that may not keep the old fanbase perennially happy.
"Divine Council": the band bet on the good old thrash/death combination again, and do a better job this time, the meandering pulverizing opener "Rend Asunder" setting the intriguing tone which doesn't rely on too many aggressive escapades, "A Fool's Errand" racing with the Shrapnel practitioners for a nice virtuoso-prone shred-fest. The most intense proposition remains "This Shadowed World", a short explosive death-peppered stroll that later finds its match in the more epically-executed "Enslavement", "Awakening" ironically being the most idyllic cut here, a creepy minimalistic march which steps aside for the hyper-active expletives unleashed on the closer, the appropriately-titled "Exitus".

Psycroptic Full-Length, 2016
As the Kingdom Drowns Full-Length, 2018
Divine Council Full-length, 2022

Official Site

PSYCROTTED (GERMANY)

Old school thrash/death spearheaded by a brutal guttural death metal vocals; the delivery favours both the militant heavy (“Cerebral Disfigurement”, the tank-like Bolt Thrower tribute “Memoria”) and the fast-paced virulent (Kiraeos”, “Diminish the Flesh”) nuances, the dark atmosphere instilled in the second half reaching doom-soaked proportions (“The Voidwalker”) again towards the end.

Creations of Insanity Full-length, 2024

Official Site

PSYKO (NORWAY)

This is heavy dark stuff that alternates heavy brooding cuts (“Acid Rain”) with brisk vivid shredders (“Armageddon”), the not very emotional hoarse semi-clean inebriation of the singer still comprehensible enough for him to lead the show, the latter also comprising a cool romantic quiet etude on “Insanity”.

Lobotomy Demo, 1992

Youtube

PSYKOSIS (IRELAND)

The demo: three songs of energetic old school speed/thrash; "Toxic Fugitive" is a brisk vigorous speedster; "Terror at 3 A.M." is a nice galloper in the American spirit; and "Bonestorm" is a heavy mid-paced Bay-Area thrasher which could perfectly fit on Exodus' "Fabulous Disaster"; great Oriental motifs are also there well embedded with the consistent main riffage. The singer delivers with his hoarse semi-clean tone which at his best comes close to Chuck Billy (Testament).
"Welcome To The Psyko Ward" is an accomplished full-length, albeit closing on just under half an hour. The guys thrash with a lot of confidence with steel gallops ("Hunt To Kill") tearing the aether. "Driller Killer" is an optimistic speed/thrasher standing well beside the speedy roller-coaster "Mortar Platoon". "Tag Your Dead" is the more restrained Megadeth-esque hymn, and "Terror At 3am" is another infectious galloping anthem, before the closing "Toxic Fugitive" wraps it on with the final slab of hard-hitting, but merry thrashisms, not to mention the excellent virtuoso lead section thrown in at the very end.

Toxic TerrorStorm Demo, 2010
Welcome To The Psyko Ward Full-Length, 2016

Official Site

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PSYKOSIS (USA)

Modern thrash/death which is a very diverse listen also borrowing from doom, gothic, post-thrash, crossover, and more. The sound quality is pretty bad giving the guitars a screamy, noisy edge which gets even more irritating under the awful, unrehearsed shouty death metal vocals. There's certainly some energy at display, and here and there one can catch the odd more technical riff ("Therapy"; the Meshuggah-sque jumper "Just a Mask"), but it all comes too messy in the end with so many nuances inserted including several short balladic interludes.

Psykosis Full-Length, 2011

Official Site

PSYKOTRIBE (USA)

The EP: intense battle-like, steam-rolling modern thrash which is built exclusively on volcanic heavy guitars the relentless musical approach topped by angry deathy vocals which are at times interrupted by more vicious thinner ones with a black metal edge. If we exclude the infectious gallops on "Faceless Killers", the rest is strictly in the mid-tempo parametres; officiant, warrior-like stuff.
The full-length is sustained in the familiar from the EP pounding mid-paced manner, but galloping wonders like "Faceless Killers" easily raise the adrenaline, not to mention the Oriental-infused shredder "Devil's Complex" which is full of suppressed vigour, the friendly crossover-ish veneer of "Left Behind" another dynamic boost. Cool clean female vocals sneak on "End It", but with it also arrives a more radio-friendly sound akin to early Six Feet Under, and the approach loses its initial more aggressive appeal in the second half.

Wicked White Lies EP, 2015
The Devil's Complex Full-Length, 2020

Official Site

PSYTHON (UK)

The debut: this new outfit indulge in classic/modern power/thrash the diversity in the delivery recalling Annihilator. The faster, headbanging side of the album is nothing short of outstanding ("GBQ", the more technical twister "Trust in Us (The Psython's Song)"), but the slower material ("DNA") is too clumsy and pulls the effort down by a hefty notch. The vocalist is a semi-shouty, mean semi-cleaner who makes himself heard, at times quarrelsome, at times more emotional. Some of the band members earlier played with the speed/thrashers Septic Fatality.
"Hatred" has a more aggressive thrashier edge, but this comes for the sake of the clear guitar sound which now is too abrasive. The overall approach recalls Testament's "The Gathering" this time, but without the latter opus' more brutal, death metal-ish staggerings. "Teeth" is a wild headbanger with hardcore overtones, but "H.A.T.E." is a decent more lyrical mid-pacer which sides well with the material in the second half including the more complex shredder "One In Deed" and the closing modern proto-groover "Hashtrap".
"The Last Days of the Good Times" comes with a fairly noisy sound and with too many unnecessary dissipations to make it a sure pick for the average thrash metal fan. The shorter more compact exercises in semi-technical thrash ("Semantic Psychopath", "Inebriated") seem to deliver the better while the longer, more complex compositions ("When the Lights Go Out", "DIY") carry too much soft (power metal, etc.) ballast to fully satisfy the rowdy thrash fanbase. The latter will surely jump around with joy on the ripping thrash/crossover winner "Thrice" and the dynamic roller-coaster "Phallus of the Goddess" before the band attempt something more mind-stimulating on the closing title-track, an epic semi-balladic, dramatic piece with very good clean vocals replacing the harsh shouty hardcore main ones.
“Fun?” doesn’t break any new ground, the diversity again big enough to ensure a wider gamut of fans sticking around, with heavy metal (“Crapitalist”), straight-ahead thrash (“Chugga Chug O'Doom”), galloping delights (the title-track), and frolic power metal pageants (“WTFDYKAWYW”) freely floating around, the more technical shredder “TechNo” going away with the laurels for the finest representation here.

...Outputs Full-Length, 2016
Hatred Full-Length, 2017
The Last Days of the Good Times Full-length, 2018
Fun? Full-Length, 2024

Official Site

PUBLIC ASSASSIN (USA)

The EP: this band's line-up features Richard Christy, the drummer who has also taken part in several more renowned bands around the metal spectre (Control Denied, Iced Earth, Burning Inside). With this band he plays thrash/death metal with technical tendencies, stomping and heavy most of the time with sudden jumps into more aggressive waters along the lines of early Morbid Angel, but less dynamic and more thrash-fixated.
The full-length is another heavy volcanic beast the shadow of Morbid Angel again looming from above, but the more technical escapades aren't that frequent, but academic doom-laden hymns like "Brides of Blood" and "Hateful Motherfucker" still deliver with their hypnotic somber rhythms, the 9-min saga "Blood on the Cloth" summarizing what this opus is all about, a stomping patiently-woven pageant that seldom tolerates any more dynamic dissipations.

Public Assassin EP, 1993
Public Assassin Full-length, 2015

My Space

PUBLIC INTOXICATION (SPAIN)

Based on the full-length, this act deliver classic thrash/crossover that straddles between the urgent more thrash-prone heroics of Hellbastard and the more bashing, more immediate valour of D.R.I. and Cro-Mags. The shouty semi-declamatory vocals are another fitting ingredient, as are the short bullet-like cuts (the speedy flier “Self Knocked”, “Road Rage”), whereas pieces like “Hangover Fisting” and “Thrash Police” reveal a marginally more restrained face, the speed/thrashing fury “Mad Iron Man” a clear qualifier for the highlight ton this brief face-melting fare.

Antisober - Frenetic Piss EP, 2020
Last Braincell Full-length, 2023

Official Site

PULENTOR (CHILE)

Raw amateurish thrashcore with grind and punk very close neighbours; noisy unrehearsed stuff creating the impression that the guys are completely drunk when recording it with very badly tuned instruments and not a single musical idea in mind. Later the band changed their name to Belial and started playing more sensible music of the death/grindcore variety, and have three full-lengths released so far.

Demo Demo, 1989

PULLING TEETH (JAPAN)

This band was founded by Shinichi Suzuki-the singer who has done services in other Japanese thrash metal bands: Cocobat, Lawshed, etc. Based on "Martyr Immortal", his new band does a better job than the aforementioned acts, playing classic fast-paced thrash with short, 1-2min songs, similar to Hirax and the Swedes F.K.U. Despite the short length of the songs, there are barely shades of hardcore, except on the very short tracks, where even proto-grindcore sections could be caught. The album closer "Dismissed in Time" is a break from the intensity displayed earlier, and is an offbeat acoustic ambient instrumental.

"Thrash Cats" is a less satisfying effort; it's not too far stylistically from "Martyr Immortal", but the sound borders on hardcore quite a bit. The songs are again short and direct, but the thrashy riffs aren't that sharp. The approach is too one-dimensional, and there's little more than pure bashing of the hardcore type. These "cats" are far from thrash for sure...

NWOJHM Full-length, 1999
MTJ Full-length, 2000
Pulling Joke Full-length, 2001
For whom the Teeth Pulled? Full-length, 2003
Thrash Cats Full-length, 2006
Martyr Immortal Full-Length, 2007

Official Site

PULLING TEETH (USA)

A prolific young act who, from their melodic thrash/crossover beginnings, have moved towards the melo-death/thrash metal spectre, as evident from their latest offering "Funerary". Certainly, reminders of their roots are present kind of retouching the intensity of the other material, which comes seriously "buried" on the monumental 10-min funeral doom opus "Funerary", very appropriately-titled, by the way, cancelling the energetic, but pretty mish-mashy 1st part. The doom metal saga carries on with the melancholic My Dying Bride-sque "At Peace", and from this moment till the end we have doom metal epics, quite well done, but a total contrast to the much faster 1st half. This is an uneven album which shows the guys producing a sound more appealing when they play it slower, and a future transition into a full-fledged doom metal act wouldn't be a bad idea at all.

Vicious Skin Full-length, 2006
Witches Sabbath Vol. 02 EP, 2007
Witches Sabbath 01 EP, 2007
Martyr Immortal Full-length, 2007
Witches' Sabbath vol. III EP, 2008
Witches Sabbath 05 EP, 2009
Paranoid Delusions|Paradise Illusions Full-length, 2009
Witches Sabbath IV EP, 2009
Funerary Full-length, 2011

Official Site

PULMONARY ABSCESS (HOLLAND)

Based on the full-length, these Dutch play right as rain classic death/thrash reminiscent of the early Pestilence efforts and the Merciless debut. The guys shred with power with a boosted cutting edge to the guitars their efforts culminating on the excellent more technical speedster "Suffocating Inheritance" in the middle. Those moments of seriousness aren't that many "This Is The World We Live In" carrying on with the "carnage" which transforms into pure death metal on the following "Free Your Mind". There's no compromise later at "the end" with the short explosive 1.5-min death metal outbreak "The End". This is an impressive dedication to the old canons seeing a band treading old paths, but with inspiration and respect. Some of the musicians were previously seen in the death metal formation Solarisis.

Depths EP, 1998
The Greedy Illness Full-length, 2002

Official Site

PULVERIZER (UK)

This violent English trio pull out crisp abrasive old school thrash which clings between stomping headbangers ("Warped") and more playful heavy mid-pacers ("Lockjaw"). he bass player is a major performer, outclassing the not bad but leveled shouty semi-clean singer, the groovy fill-ins on "Suffocation" betraying the time of release. The cool lashing riffs on "Violent Breed" can pass for the highlight, with the Bay-Areasque impetuousness of the headbanging winner "Concrete Shoes (Gravity)"a close second.

Violent Breed Demo, 1994

Youtube

PULVIS ET UMBRA (ITALY)

Based on "Implosion Of Pain": this is the "brainchild" of just one musician, Damiano Premoli, who has also taken part in other thrash metal formations (Human Shield, etc.) around Italy. On this project he focuses on modern sterile thrash which can be quirky and semi-progressive ("End of Emptiness"), but more often is it brooding and doomy (the excellent Oriental "Psicostasia"). There's a certain industrial vibe going through the album which reaches early Fear Factory-sque dimensions on the closing rager "Look Through the Eyes". Damiano may learn to sing a bit, though: his hysterical angry shouts are the clear downside on this effort.
"Atmosfear" is by all means an "atmosferic" recording, the opening "The Soul Collectress" showing strong industrial predilections which grow deeper with the mechanical headbanger that is the title-track. "Crows Belong to Her" serves more brutal death metal starkly contrasting with the few serene passages the latter becoming a regular presence on almost any other subsequent number. "The Price of Trust" is another less restrained piece of aggression, but the exiting string of cuts are unfinished etudes of industrial noises giving this album a somewhat casual aura.

Reaching the End Full-length, 2012
Implosion Of Pain Full-length, 2014
Atmosfear Full-Length, 2017

Official Site

PUMPKIN HEADS (GERMANY)

Based on the "Welcome to the Promised Land" demo, this is a bit clumsy one-dimensional old school power/thrash which acquires mellower sentimental parametres on the dreamy balladic "Pain (All These Nights)", the leveled mid-ranged clean vocalist carrying even this number, his more pronounced higher-pitched antics on "Promised Land" fitting that piece's more dynamic clout.

Welcome to the Promised Land Demo, 1998
Victimized Demo, 1999
Where Dead Flowers Grow Demo, 2001
The Thin Line Demo, 2003

Official Site

PUNCHIN' JUDY (USA)

Based on "Figure IV", this act provide punishing virulent thrash/crossover which is quite often much close to the pure hardcore parametres. The prevalent bashing aesthetics get tamed on the pounding "Jellyfin" and on the intriguing discordant hymn "Civilized Man", and "Grrrls W-Guns" is a pure frolic punk joy, the merry elevating showdown seldom interrupted later, with funk/fusions ("Supernookie") and crusty abrasiveness ("Be Aware- Beware") added later to match the vocalist's hoarse semi-declamatory hardcore timbre. Some of the musicians also participated in the modern thrashcore unit Omega Tribe.

Punchin' Judy Full-length, 1991
Figure IV Full-length, 1998

Youtube

PUNCTURE (USA)

This band was formed by two members of Gammacide. The style presented here is miles away from the aggressive old school thrash of the old band. This is heavy crunchy modern post-thrash with a strong industrial edge; some more speedy parts actually remind of Gammacide, but most of the time the music is crushing sounding like a more aggressive version of Pantera. "Immune" is probably the better achievement with its more insistent abrasive character the guitars dominating the landscape on notable hard-hitting heavyweights like "Suck City". Elsewhere we have "Dutch Fist", a passable metallic dancer ala KMFDM, and a lot of other less distinguished tributes to the industrial noise of the 90's.

Puncture Full-length, 1994
Immune Full-length, 1996

Official Site

PUNISH (CANADA)

Very typical for the time groovy post-thrash, industrialized at times, a heavy monotonous affair with a few very stylish melodic leads contrasting to the ordinary heavy repetitive riffs. "Right From Wrong" is quite a surprise in the middle serving more intelligent semi-technical thrash in a much faster pace, and "Desensitized" may make you pay more attention being a cool moody groover ala 90's Prong with a few edgier moments, but the rest will hardly make you very happy; maybe the closing thrashy section from the last song "Individual" would also be another one although one may get angry there for not hearing such intense music earlier.

State Of Grace Full-length, 1995

PUNISH (SWITZERLAND)

These masters of technical death metal have suddenly switched onto thrash by also retaining their death metal swagger to produce this enchanting thrash/death metal opera which wastes no time pulling in the listener with the excellent opener "Call", the definitive thrash/deathy technicaller with sudden time-shifts, impetuous gallops, and vortex-like arrangements. "Pan" more fully reveals the band's dominant style blast-beating among the intricate riff-patterns; and "First" thrashes with all the style it can summon for the creation of 7-min of superb elaborate twists and speedy crescendos. "Viles" is a first-rate all-instrumental thrashterpiece, a virtuoso classical showdown with fiery riffs flying from all sides assisted by great short, spat out leads. "Invert" is the epitome of the jumpy, stop-and-go technique the latter later intercepted by more speedy, but equally as complex riff-formulas, not to mention the brilliant leads near the end. "Binding" "flirts" with death metal more again ending more on the technical melo-death side. "Mother" rages hard with lashing guitars, adding the odd blast-beat among the precise, technical riffage. The closer "Eternal" is an encompassing, 8-min all-instrumental again opus the guys unleashing all their classical-prone exuberance, not so widely covered on the album earlier, to produce one of the finest instrumentals of the new millennium, a breathtaking amalgam of maddening speedy parts, enchanting lead-driven tapestries, mind-scratching riffs, and symphony-like structures. Needless to add, few will be those outfits to be able to top this grand pretender for "the best album of 2016" award.

Panik Full-Length, 2016

Official Site

PUNISH MY HEAVEN (GERMANY)

Based on "The Reckoning", this act offer modern thrash/death executed proficiently with sharp cutting guitars and a few great melodic leads. The tempo is mostly fast with several crushing sections the latter taking more space on the longer "The Reckoning" which is a cool more complex composition. Despite the fairly high level of musicianship encountered here this album might easily be forgotten due to its derivative nature. Some of the band members previously played in the power/speed metal formation Fading Starlight.

First Punishment Full-length, 2010
The Reckoning Full-length, 2012

Official Site

PUNISHER (COLOMBIA)

This is old school speed/thrash that has both a bashing not very restrained side ("Powermad") and a more elaborate near-progressive one ("Punisher"), which is also the more melodic one. Nice melodic leads also grace the proceedings here and there, the not very expressive semi-declamatory/semi-shouty vocalist the least impressive segment here, the blistering bombastic speedoramas on the closing "Torture Command" completely deafening him. Some of the band members also play with the power/speed metal outfit White Thunder.

Deal Out with the Devil Full-length, 2020

Official Site

PUNISHER (CHINA)

A capable outfit from the Far East who specialize in retro Bay-Area influenced thrash which will remind of Death Angel and Testament, above all, except in the vocal department where the guy prefers the high-strung registers, but his thin voice gets lost quite often in them. Clever more technical structures ("Heyday") alternate with straight-forward mosh ("Regretless") the listener's fun ensured also due to the presence of several sophisticated Artillery-sque headbangers ("Out of Body") and more laid-back speed/power metal-based numbers (the excellent instrumental "Vulture"). "Lord of Evil" is a direct ripper whereas "The Heroic Ode" is a rousing epic galloper preceding the closer "Styx", a morose speed/thrasher with foreboding doom passages and some of the finest leads to ever come out of Asia. The Chinese have tried hard, and one can't help but be impressed by this versatile effort which shows a lot of potential coming form a not very likely place on the metal map.
The EP offers quite cool retro progressive power/thrash which acquires frantic, hyper-active proportions ala Toxik's "World Circus" with "Minions of the Beast" those matched every bit of the way by the pathos-like shouty/screamy vocalist who pulls numerous admirable high-strung tirades ala David Wayne (R.I.P.; Metal Church, Reverend). Tastefully melodic lead sections decorate the dramatic proceedings at every opportunity, the lead guitarist's lofty efforts solely overwritten by the riff-work on the restless shredder "Your Suffer" which still contains intricate configurations aplenty despite its short duration. "The Dark" flirts with the ballad initially, and the more respiteful layout seems to work just fine the impetuous speed/thrashing in the second half raising the adrenaline sky-high not without the help of these outstanding crazy vocals which break glasses at will with their shattering pitch. "The Fall" is a superb progressive speed/thrasher with myriad time and tempo changes, an exhaustive showdown which is logically followed by the calmest composition here, the tender ballad "All Previous Me" which shows the maverick singer in a very bright light again with a leveled clean soulful timbre that soars above the meditative proceedings to a poignant effect. The Chinese have done it again, and if they haven't completely gotten lost in this maze, more great things are to be expected from them in the future.

Battle of Grace Full-Length, 2015
Lost in the Maze of Nightmare EP, 2017

Official Site

PUNISHER (ROMANIA)

Old school thrash supported by throaty guttural death metal vocals; the up-pace is prevalent, the frequent outbursts of violence (“Blood and Bones”, “Holocaust”) intriguing additions to a fairly unbridled slab, the furious character of “Hazardous Waste” and “Gates of Hell” contrasting with the dark macabre aesthetics of “Murder is My Name”, the threatening semi-shouty deathly vocalist sometimes stifled by the noisy production.

Frontline Full-Length, 2024

Official Site

PUNISHER (USA)

Crunchy, somewhat technical thrash with great bass work similar to Steve Digiorgio; the vocals are from the death-type. The songs are long-ish elaborate, but the guys manage to keep things interesting throughout. The sound is strictly modern with a shade of groove, and there are times where the music takes off towards more aggressive territories ("Beaten Down"), but again supported by choppy technical guitar work. The guys try to keep the songs dynamic and succeed since the music never slows down a lot. The guitars have this dry mechanical sound, typical for the Voivod works with Eric Forrest, and Meshuggah, but these guys' music has also shades of the classic times like the excellent energetic technical thrashers "Spirit of Vengeance" and "Weapon X". "In Cold Blood" shows the more ambitious side of the band, but the reduced speed and the slightly heavy-handed riffs, which evolve around a slow-ish progressive basis, lessen the impact. Near the end the guys take it easy with two more immediate headbanging pieces: "Loser" and "Eternal Democracy". The last track "Punisher" is a sudden, but a very satisfying, move onto aggressive thrash/death metal, fast and relentless, still retaining a certain technical edge, especially on the stylish ending.

Disillusioned Full-length, 1998

PUNISHMENT (BRAZIL)

Based on the "Enter The Punisher" demo, this is retro up-tempo thrash with death metal vocals: one is of the low brutal growl, the other of the snarly type. Music-wise the band recalls Protector, especially when they speed up ("The Man is Crazy", "The Doom", which contains blast-beats near the end) which doesn't happen very often; and Ghoul, with whom they share the catchiness and playfulness of the guitar work.

Infernal World Demo, 2002
Enter The Punisher Demo, 2006

Official Site

PUNO DE HIERRO (MEXICO)

These guys had done a pretty good job on their only album: this is a nice combination of power/speed and thrash metal; the faster tracks will remind you of early Helloween, Warrant and Vectom, whereas the slower heavier ones are close to the American school: think Helstar, early Laaz Rockit, Savage Grace. The guitar performance is of a particularly high level with nice technical leads which would perhaps make even Kai Hansen turn his head. At the time when this album was released, this kind of music was quickly fading away, and the band had made a good attempt at keeping it alive a bit longer.

Ten fe en Dios (Overtura de Metal) Full-length, 1990

PURE AGGRESSION (USA)

90's thrash/post-thrash mixed with more aggressive thrashcore; not bad, even melodic and semi-intricate ("Deaf Dumb And Blind") on occasion, the brutal death metal/hardcore singer creating the biggest drama here, if we exclude the intense headbanging violator "My Addiction", an obvious change from the dominant heavy squashing scenery.

Demo Demo, 1996

Official Site

PURE CHAOS (USA)

This band play intense bellicose retro thrash with venomous spiteful death metal vocals. The more laid-back, also more dramatic, material ("The Awakenings") easily falls into the power/speed/thrash compendium camp, whereas more dramatic marches like "Reversed Psychology" bear a more officious physiognomy, the latter shattered by short pulverizing strokes ("Coroner, "Final Jeopardy"). The vocalist is a shouty deathly engagement, his belligerent antics tormenting the volatile environment which could have benefited more from a bigger number of the mentioned brief speedy excursions.

Rise of the Unheard Full-length, 2023

Official Site

PURE HATE (POLAND)

Based on the "This Is The War" demo: this band offers a cool mixture of thrash and hardcore with a decidedly modern sound recalling more recent Pro-Pain, but less edgy and with non-typical melodic leads, plus the occasional more intense thrasher ("Who Cares").

The full-length is an elaboration on the approach heard earlier on the demos mixing thrash and hardcore without speeding up too much, which may bore the listener at some point because of the frequent heavy pounding guitars despite the cool melodic licks gracing at least half of the songs, and are a really stark contrast to the gruff semi-death metal vocals.

My Enemy Demo, 2006
This Is The War Demo, 2007
Hate Is Coming Full-length, 2009

My Space

PURE HATRED (USA)

Based on "Burn Fucking Burn Die Fucking Die", this act specialize in modern thrashcore which tries to sound faithful to the already semi-extinct NWOAHM, but its allusions to metalcore are hardly the most precious ingredient. As a result this effort may tire the listener despite the inclusion of several more interesting moments, like the mechanical headbangers "Agbtb" and "Crawl", and the more engaging Prong-esque closer "Dead World". Those moments come in the 2nd half and may hopefully be elaborated on further along with some improvement in the vocal department: the guy shouts in a dry sterile manner his rendings coming on top of the instrumentalism at times.

Choking on the Sweet Air of Freedom Full-length, 2007
Burn Fucking Burn Die Fucking Die Full-length, 2011

Official Site

PURE NEGATIVE (UK)

This young act indulge in a bit more complex for the times modern thrash which has its clever moments and all, but as a whole it fails to deliver that well due to the scattered ideas which suddenly branch out into uncontrolled aggressive shredding before being replaced by pure metalcore breaks with shades of a more stylish technical play. All those influences have room to develop to some extent because of the compositions' length (6-8min) although the mish-mash there is quite big. The vocalist plainly shouts in a noisy semi-death metal fashion faithfully accompanying the abrasive musical landscape without any stretches into more adventurous performance. This isn't "purely negative", but it wouldn't hurt if the guys decide to "insert" some more technical elements, and "twist" things around a tad more on future releases. And, of course, "pull" those annoying metalcore passages out...

Insert [Twist] Pull Full-Length, 2013

Official Site

PURE SWEET HELL (USA)

This band is a side project of the Nevermore drummer Van Williams who takes over the vocal duties here, too (and does a very good job, by the way). The sound is not anywhere near Nevermore, perhaps only occasionally. There is a wide variety of styles presented here: thrash, black, gothic, doom, industrial, post-thrash, etc. At times the band might remind you of some bands from the death/gothic field, like Trail Of Tears or The Project Hate, mixed with modern thrash.

"Spitting At The Stars" develops within the confines of modern post-thrash almost entirely the heavy guitar tone still echoing Nevermore, but the rest has a certain dark alternative vibe, the more aggressive shred only casually showing up: the dramatic pounder "Architect"; the atmospheric lasher "Echoes Of The End", which boasts a faster-paced passage and very good leads. "Regret" is a potent creepy doom/thrasher which leaves its mark on the remaining numbers, which "march" forward with sinister hammering riffs, "Beside A God" stealing the show with its whirlwind-like finish; the final "Coldest Winter" not too far behind, being a cool atmospheric ballad. The vocals are in the semi-industrial/semi-shouty category, pulling out a surprisingly good performance on the several more lyrical, balladic moments ("Created").

The Voyeurs Of Utter Destruction As Beauty Full-length, 2003
Spitting At The Stars Full-length, 2011

Official Site

PURENVY (AUSTRALIA)

The debut: a young formation who specialize in standard modern thrash which is often on the edge of falling into metalcore saved by the more acceple heavy/power metal insertions which give the album a true radio-friendly appeal. This is the reason why the thrash metal fan won't make much sense from it the lack of any headbanging passages another pullback. The singer is an appropriate clean mid-ranger whose not very adventurous performance matches the laid-back character of the music.
"Redemption" is a more complex, more carefully executed, and consequently much better achievement the band acquitting themselves with longer, more thought-out compositions where hard relentless thrashing meets soaring catchy melodies, with every piece containing both elements sometimes the aggression ("Deception") dominating, sometimes the melodic walkabouts ("March to Our Graves") taking the upper hand. The title-track is an admirable speed/thrasher in the vein of Paradox, the highlight here, and "Forsaken" is another worthy progressive lasher with numerous speedy escalations among the virtuous melodic pirouettes.

As the Light Fades Full-Length, 2013
Redemption Full-length, 2018

Official Site

PURGATORIO (CHILE)

These Chileans specialize in well produced classic thrash with technical/progressive elements with a lot of eventful music within: time-changes, virtuoso leads, fast blitzkrieg passages, etc. The songs vary in mood and execution and would be a good backbone for an eventual diverse full-length. The singer is a brutal, but not very low-tuned, death metal shouter always on track and fairly comprehensive.

Demo Demo, 2010

Official Site

PURGATORY (CHINA)

These Chinese play brutal thrash/death with echoes of black metal which displays good musicianship, despite its pretty fast, blasting nature. Things get a more controlled shape on the long sprawling "Blood Flooding In Coldnight" in the middle, which loses all the speed there was before, settling for heavy, doomy arrangements wrapped in a nice progressive atmosphere. This composition is like "an oasis" among the aggressive rest, which becomes weirdly technical on the stylish proto-blaster "Retaliation from Dead" and on the jumpy, mostly mid-tempo, closer "Seventh Element", which is vintage mid-period Carcass including in the dual vocal field. This is good thought-out music which main flaw is the very short length, barely going over half an hour.

Power Of Evilly Full-Length, 2007

PURGATORY (UK)

This band, like their more famous compatriots Hydra Vein, look for inspiration towards Germany, but they also add more pounding parts, strangely recalling Venom, but their 90's efforts, after the reformation. The music softens a bit at times ("Messenger of Fear") paying tribute to the NWOBHM wave, but most of the time it's cool thrashy stuff if we also exclude the 1.5-min instrumental "F.L.T." .

F.L.T. Demo, 1988

PURGATORY (USA, OH)

Purgatory belong to the more melodic side of the speed/thrash/power metal hybrid with a style which brings to mind several German bands: Warrant, Iron Angel (the 2nd album), Tyrant, even early Helloween. This is good stuff, especially when the guys pull out the casual cool technical riff, which doesn't happen very often, but keeps the listener concentrated to eventually hear something more of the same.

Tied to the Trax Full-Length, 1986

PURGATORY (USA, TX)

The 1991 demo: heavy mid-paced power/thrash metal akin to Flotsam & Jetsam's "Cuatro", predating their more famous compatriots' work with a whole year, but not as good; worth of note are the sneaking modern 90's tendencies which very soon after took over the scene completely.
The "Beloved Destruction!" demo is sustained in a similar vein to its successor, choppy quasi-groovy thrash/post-thrash on the welcoming peaceful side, hitting the soporific bottom with the soulful ballad "Negative Reality", "The Quest" recalling the Bay-Area with its more confrontational lustre, the cool composed clean-ish singer taking quite a bit of space but in a good way.

Beloved Destruction! Demo, 1990
Demo Demo, 1991

PURGED (AUSTRALIA)

Based on the debut: this album is a typical "product" of its time: modern 90's thrash in the Pantera and Machine Head vein, but this is more melodic with stoner/doom elements ("Divided Faith") inserted reminding of Phil Anselmo's side project Down.

Form Of Release Full-length, 1997
Balance of Power Full-length, 1999

PURITAN (BRAZIL)

Based on the debut, this Brazilian trio offer choppy modern thrash with several more technical pretensions, but also with a few metalcore "interludes" present. The singer is a scary death metal growler, and his rendings don't quite fit the mellower musical background. The riffs change from fast to mid-paced and hectic, and create the impression that the guys are really busy to produce something more stylish, but the short songs (2-3min), among other obstacles, don't leave them many chances to realise that.

O Firme Fundamento Do Desespero Incessante Full-length, 2009
Faixa de Gaza Full-length, 2011
Nesse Chiqueiro Ningu'e9m vai pro C'e9u Full-Length, 2014

My Space

PURITY (FINLAND)

Based on "Built", this band offers 90's alternative power/post-thrash metal which is far from the derivative groovy efforts of thousands of acts at that time, but opts for a darker, Black Album-like sound spiced with more jumpy intense riffage ala 90's Flotsam & Jetsam. So more dynamic thrashers like "Dead End Street" shouldn't come as a surprise, but they aren't so many, and at some point the album may bore you sticking to samey chugga-chugga riffage and sudden switches onto laid-back, Alice in Chains-like tunes. There are stoner/doom, balladic and bluesy moments as well to make the cocktail even bigger. From the 90's perspective this work isn't completely illogical, but the contemporary fan might not be very entertained.

The debut EP is four tracks of mild heavy metal-oriented post-thrash which sounds lazy and uninspired relying on clumsy heavy riffage which livens up on the strangely mechanical shredder "Look (That's What We've Learned)" which also wins from the nice balladic digression in the middle recalling Flotsam & Jetsam's "Quatro"; a good intense number with lashing guitars which should have served as a model for the preceding material. The singer isn't bad at all with his convincing mid-ranged clean tember.

In Disguise EP, 1994
Built Full-length, 1996
Dear Evilyn Full-length, 2004

Official Site

PURITY (GERMANY)

Based on the "Burning Sky" demo, this band plays heavy modern-ish post-thrash, mostly mid-tempo, with aggressive death metal elements and atmospheric gothic passages ("Broken Wings"). The final result isn't bad, and there are very few bands out there at the moment who sound like them.

Silence Demo, 2006
Burning Sky Demo, 2006

Official Site

PURSUIT (USA)

Classic thrash emitted by these minstrels, their anger and frustration expressed by short bullet-like cuts ("Irresolute", "The Cold Grip of Hypocrisy") with Slayer a clear influence, except in the vocal department where the guys growls in a subdued but sinister deathly fashion. Watch out for the contrived heavy "Terrorform", a weird mechanical dirger exuding subversive quasi-industrial atmosphere.

Scourge of Humanity Full-length, 2022

Official Site

PURITY 96 (FINLAND)

A typical for the time and age modern post-thrash offering with grunge and alternative borrowings, plus one nice take on atmospheric heavy doom ("Exit/Enter"), which however comes second to the energetic more classic-sounding "splash" "Dead End Street" in the middle. "Lost" is a curious quasi-progressive doom/thrasher with a quirky rhythm section, and the closer "For My Godson" is a short acoustic ballad which could be considered an allusion to Metallica's same year's "Mama Said".

Built Full-Length, 1996

PUSSY HOLE TREATMENT (PORTUGAL)

Modern fast thrashcore with simplistic punk-tinged riffs, which give a cool melodic "decoration" to the tracks at times, and rending shouty vocals.

Destroy Everything Now Full-Length, 2010

PUT' SOLNTSA (RUSSIA)

Thrash and death meet epic and pagan metal on this varied affair. The concentration is clearly on the first two styles, and the delivery is frequently fast and brutal. The singer is an intense death metal growler seldom accompanied by nice female vocals. There are a few slow melodic instrumentals thrown in, and some of the fast moments border on hardcore. The band members are involved in several other projects: the grindcore "freaks" Educated Scum, the brutal death metal "monsters" Fatal Band, the death/thrash metal outfit Eternal Sick, and the symphonic black metal formation Sinful.

"Veter" carries on with the wild mixture this time sticking to death/thrash/hardcore more which gets openly brutal and chaotic ("Veter") on occasion. The slower epic elements are only slightly hinted at for the sake of the super-fast moments which boldly venture into death/grind.

Pobeditel Vsegda Ostaetsa Odin Full-length, 2010
Veter Full-Length, 2011

Official Site

PUTA REALIDAD (ARGENTINA)

Aggressive violent thrash/crossover with frequent stretches towards pure hardcore, with noisy shouty semi-death metal vocals; a not very welcome addition are the heavy groovy moments which sometimes turn to whole tracks although those same tracks seldom go over the 2/2.5-min range. The guitar work isn't bad providing sharp lashing riffs the whole time although there are almost no leads to be heard.

Conciencia o Muerte Full-length, 2008

My Space

PUTRID BLOOD (SERBIA)

A cool promo of retro headbanging thrash with angry semi-hardcore vocals; the music delivers with sharp semi-technical riffs, good lead guitar, and energetic up-tempos. The guys are obviously fond of Slayer, but touches of the Bay-Area can also be caught as well as the odd hardcore piece ("Pokvaren Do Srzi"). The end is in the form of "The End" which is excellent creepy technical thrash in mid-pace recalling Slayer's late-80's period with a twist.

The full-length is a sure pick for all lovers of the classic sound the guys' intense delivery now supported by a few more aggressive death metal sections (the short bombarder "Silovanje"). The sound has its hesitations towards the more melodic (the radio-friendly groover "Kontraudar"; the epic cut "Re-Animator"), but heads will fall on aggressors like the Slayer-worships "Zver" and "Prey". A relative "moment of clarity" for the listener would be the exiting instrumental "Moment of Clarity" which is a bashing cleverer with nice leads and cool semi-technical decisions.

Fire at Will Promo, 2009
Absolute Profit Full-Length, 2012

Official Site

PUTRID COFFIN (CHILE)

Brutal thrash/death with echoes of the early Swedish death metal movement (Entombed, Unleashed, Dismember), but the overall delivery is more thrash-fixated excluding the brutal guttural death metal vocalist. The guys mosh with gusto seldom pausing for a break "Ancient Times" being a particularly interesting epic thrash/deathster closely followed by the blitzkrieg brutalizer "Black Vomit Capitalism", and the only full-ahead death metal cut, the closing "Destruction Feeling" which also serves a portion of twisted technical riffs as a finishing touch.

Under the Cementery Full-Length, 2016

Official Site

PX-PAIN (SWITZERLAND)

Groovy thrash with crossover elements sounding like a mix between Machine Head and D.R.I; their second full-length effort is the better of the two featuring more aggressive Pantera-sque riffs and semi-alternative sections, "accompanied" by clean vocals as opposed to the hardcore shouts which are the main ones.

Scene Of Crime EP, 1994
Plant Of Life EP, 1997
Marrow Full-length, 1998
Still Disgusted EP, 2000
Add Fuel To The Fire EP, 2002
Denying the Consequences Full-length, 2005

Official Site

PYGMALION (SWITZERLAND)

An alternative melodic brand of the 90's post-thrash with strong Helmet influences; the music picks more aggression here and there, but seldom reaches the angry aesthetics of Pantera opting instead for jumpy hectic riffs awkwardly interrupted by sprawling balladic sections which are well handled by the cool melodic singer.

Among Squabs Full-length, 1994

PYRACANDA (GERMANY)

"Two Sides of a Coin" is a really good debut with its polished, but forceful heavy thrash sound calling to mind the Bay Area scene, with a twist. "Top Gun" opens it in an awesome energetic manner, a nice combination of galloping and faster riffs. "Democratic Terror" thrashes more aggressively, setting the tone for most of the remaining material. Near the end the guys slow down, for "Goodbye Mary Ann": a cool, but maybe a bit inappropriate power/heavy metal hymn, and the speed metal closer "Don't Get Infected" which moshes in the spirit of early Helloween.

"Thorns" also begins quite well with the heavy semi-technical "At The Abyss", but the very next "The Dragon's Cult" is much less impressive sounding like pure classic heavy metal. "Shut Up" is faster, but the riffs are again too soft. Later the sound degenerates even further reaching the bottom with the pop-metal stupidity "Soulstrip" after which I see quite a few of you out there turning their players off. Timid attempts at capturing lost ground are made with "Montezuma's Revenge" which is a more intense thrasher slightly recalling the debut, and the technical, but slower closing title-track which could have had a bigger appeal if the rest was at least half as decent. Apparently not very happy with the final result, the band never bothered to record a follow-up.
“Losing Faith”: an unexpected comeback offering by these obscures, who have voted for a more diverse and consequently less attractive power/thrash delivery similar to the one on their sophomore, the hard-hitting riffs of “Don't Wait For” mortified by the semi-galloping inertia of “Mouth Warrior” and the mainstream sing-along possibilities on “Losing Faith”. Thrash returns with the twisted “History Twister”, a restless headbanger whose merits get enhanced by the presence of the equally vehement “Spoke in the Wheel”, but laid-back pageants like “What Builds My Pride” and “Hold On!” don’t contribute much to this at least semi-decent reunion entry that thankfully doesn’t share much from the groovy post-thrash swagger of the musicians’ previous formation Ilex.

Two Sides of A Coin Full-length, 1990
Thorns Full-length, 1992
Losing Faith Full-length, 2024

Official Site

PYRE (USA)

Retro thrash/crossover which is surely on the more brutal side of the genre the shorter material ("The Grippe") pure unrestrained hardcore violence, the melodic crusty sentimentality of "Smite With Hex" a sure highlight with its goofy semi-technical flair, the uplifting spacey-ness of "Look Back And Laugh" another moment worth mentioning. The mellow psychedelic semi-balladic title-track is a definitely another semi-stylish addition, but the harsh semi-shouty vocals are hardly the most suitable accompaniment to it.

Come Home Full-Length, 2020

Official Site

PYREWORKS (USA)

Based on the full-length, this duo of brothers indulge in choppy retro prog-thrash that loses a few points from the not very suitable, not very intelligible death metal vocals. The music delivers, though, as the brothers know what they're doing, either with more brutal deathly accumulations ("Malicious Auscultation") or with a carefully-assembled array of clever sophisticated riffage ("The Ultimate Fear (Phobophobia)"), the twisted immediacy of cuts like "Splintering Agony" and "Choking on Teeth" adding more to the eventful soundscapes which also receive pyreworks.. sorry, fireworks of infectious melodies on "Vomitous Organ Rejection". The lead guitarist takes over on the devious melo-thrasher "Nuclear Casket" fora number of spell-binding virtuoso licks, the vehement intensity of the final shorter "Splattered Across the Highway" by all means a fitting closure to an intriguing, full of surprises album.

Voltage Corpse EP, 2018
Pyreworks Is Destroying Our Nation! Full-length, 2019
Season's Bleedings EP, 2019

Official Site

PYROMANIAC (FINLAND)

Based on the "Retard/Asshole" demo, these Finns play an unpretentious mix of black metal and thrash/crossover. This is an uneven contrasting blend with very fast blasting moments alternating with much slower light-hearted ones the whole time, the latter bearing at least one good "fruit": the doomy epic "Round-Shaped Room"; and, of course, the interesting energetic cover of Manowar's greatest song "Thor The Powerhead" at the end, ruined by the rough raven-like black metal vocals. The guys take part in numerous other projects: the pagan black metal act Ancestors Blood; the pure old school black metal formation Black Blood; the thrash metal "monsters" G.O.R.E., etc.

Arson Demo, 2001
Pyromaniac/Vulture Split, 2002
Goatsemen Commando Demo, 2002
Bondage, Blood & Blasphemy Demo, 2004
Retard/Asshole Demo, 2007

Official Site

PYROPHORIC (MEXICO)

Based on the "Accursed Oblivion" demo, these guys (or a guy since there's one person (Uriel Aguillon) listed as responsible for this act) play dark, gloomy thrash with orchestral, gothic atmosphere and undeveloped progressive ambitions. The pace is mid with doomy stops along the way the latter made more attractive by the brutal guttural singer.

Diabolizing The Priest Demo, 2009
Accursed Oblivion Demo, 2010

Official Site

PYROTOXIC (FINLAND)

Based on the Split and the EP after it, this band offer excellent furious classic thrash in the best tradition of early Kreator and Necrodeath: check out the aggressive destructive "Nocturnal Violator", or "Recrucifixion". There's no mercy here, pure brutal thrashing pleasure which finds milder forms later, but remains equally as compelling: the speed/thrashing delight "Cursed Midnight", or the jollier crossover-laced "The Secret Of Steel".

Flames of Armageddon Demo, 2007
Thrash Clash Volume 4 Split, 2008
Cursed Midnight EP, 2009

My Space

PYRRHONIST (USA)

Abrasive classic thrash with a not very pronounced hardcore "sting" which is characterized by lengthy more thought-out numbers ("American Dream") and especially the epic power/thrasher "Mask Of The Devil" which also contains a few interesting melodic respites. "One Foot in the Grave" is an all-out mosher, but such moments aren't too many as the guys like spicing it up including with short static noisy interludes in-between tracks. The singer is a semi-shouty semi-deathster who leads the varied show with confidence without straining himself too much.

Chaos Vortex Full-Length, 2018

Official Site

PYTHON (USA)

This nice EP strangely reminds of the mighty Sabbat (UK). It has its unique, somewhat "pagan" aura at times, but there are songs which are straight thrashers with no gimmicks whatsoever. This is really good and hopefully these guys will be heard from again soon.

Good And Evil EP, 2005

Official Site

PYURIA (FINLAND)

Based on "Oubliette Ontolgy": aggressive thrash/death with a genuine technical edge sounding like a mixture of Suffocation and Protector. The blast-beats decorate almost every song, but they are quickly replaced by really interesting technical decisions so there's balance. On top of that the guys slow down with very heavy crushing riffs sometimes bringing to mind Bolt Thrower: "Wound Opening, Part I"; the second part of this song is a lesson in perfectly executed technical thrash/death metal, quite fast as well. The furious nature of some parts of this album shouldn't scare you, this is very proficient stuff which would also please fans of Chemical Breath, the Canadians Martyr, Droys, Necrophagist.

"Calliphora Vomitoria Introitus" offers more conventional stuff; the guitars are not as technical, and the approach is more aggressive with constant blast-beats which considerably ruin the impression created by the more stylish sections.

Baroquean Menuets For Oesophagus EP, 1999
Sublime Metrics Reallocation EP, 2003
Calliphora Vomitoria Introitus Full-length, 2004
Oubliette Ontolgy Full-length, 2007

Official Site

PYÖVELI (FINLAND)

Finland is quickly turning into the new motherland of thrash metal with new bands springing up almost every day. Based on the debut, this band offer quite good old school speed/thrash metal, as already suggested by the slightly self-boasting title, with a strong nod to the German metal scene of the 80's: Destruction, Exumer, Kreator, etc.

"Not A God, Just An Executioner" is a less serious offering the band now bashing pretty wildly with a clear shade of hardcore, and even grind, reaching the intensity of early Cryptic Slaughter with ease for most of the time. The guitars, however, have a slight melodic edge, and the guys have included one bass-only instrumental ("Bonecrusher") to "crush" your "bones". Not many would be these who would be able to recognize the more intelligent delivery on the debut: even at their most laid-back ("Not A God, Just A Executioner") the guys sound like Slayer on steroids and consequently like an almost entirely new act.
"Still Underground": yes indeed, and without any seeming chances to escape from there.... not that the guys want to as evident from this new opus. "Speed Metal Attack" opens the album, and this cut couldn't have been more appropriately titled, this is speed metal to the bone in the best tradition of their compatriots Predator and the Swedes Cranium. This is as old school as old school can possibly get nowadays the guys just bashing with vigour here straying further away from their more serious exploits on the debut. The pristine barrage is also given a more archaic "aura" by the very medieval sound quality which at times makes the guitars sound like one massive impenetrable wall of noise. Mosh on...
"Mega-Thrash Revolution!!!!" is a merry-go-round bash which seldom pauses for a break, the guys pouring short ripping headachers ("Obsessed by Execution", "Apocalyptic Plague") to no end, the smashing delivery bordering on both proto-death ("Morbid Slasher") and hardcore ("Helldriver") throughout, "Speed Metal Storm" spearheading a brief speed metal pogo session. This is as unpretentious as this kind of music can be, think Motorhead on very wild forbidden steroids.

The New Renaissance Of Speed & Thrash Metal Full-length, 2005
Not A God, Just An Executioner Full-length, 2011
Still Underground Full-length, 2014
Mega-Thrash Revolution!!!! Full-length, 2023

Official Site


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